UPDATE: JUNE 28, 2018 — A second Melbourne show has been added on Tuesday, August 14. Tickets are on sale now. When Bob Dylan last toured Australia, it was billed as a 'once in a lifetime' experience. And, for all those who went, it was. It's just that now fans will be get the opportunity to have another such experience, because the legendary tambourine man will return to Australia for a national tour this August. This tour will be less exhaustive than his 2014 effort, with Dylan set to do seven shows — one in each of the usual capital city stops (Melbourne, Sydney, Brisbane, Perth and Adelaide), as well as one-offs in Newcastle and Wollongong. He will draw on his incredible 60-year career — which spans 36 studio albums and countless hits — for the shows, so you better start praying to the music gods that your favourite makes it onto the setlist. Dylan may be 76 years old, but he has certainly showed no signs of slowing down as he approaches 80. In 2016 he was awareded the Nobel Peace Prize for Literature and, just this year, he oddly released his own whisky. But still, it could be the last chance you get to see this living legend perform live. His last tour sold out, so you better have your fingers ready when tickets go on sale next week. BOB DYLAN 2018 TOUR DATES Wednesday, August 8 — Perth Arena, Perth Saturday, August 11 — Botanic Park, Adelaide Monday, August 13 and Tuesday, August 14 — Margaret Court Arena, Melbourne Saturday, August 18 — ICC Sydney, Sydney Monday, August 20 — WIN Entertainment Centre, Wollongong Wednesday, August 22 — Entertainment Centre, Newcastle Friday, August 24 — Entertainment Centre, Brisbane Bob Dylan will tour Australia in August 2018. Tickets are on sale now here.
People travel from around the globe to see Uluru. In 2023, the Northern Territory landmark was even named one of the best places in the world to visit by The New York Times. Folks head to the Red Centre from all across Australia, too, of course — and if visiting the large sandstone formation has always been on your travel bucket list, and you're in Melbourne or Brisbane, making that trip is about to get easier. Virgin has announced new direct flights to the heritage site. From June 2024, the Aussie carrier will start two routes, which will mark the airline's first-ever legs to Uluru from Melbourne and Brisbane. The flights from the Victorian capital will begin first, on Thursday, June 6, 2024, but Queenslanders will only have to wait a day later, until Friday, June 7, 2024. After both routes kick into gear, Virgin will fly between Melbourne and Uluru four times a week, on Tuesdays, Thursdays, Saturdays and Sundays. The carrier will zip between Brisbane and Uluru three times a week, on Wednesdays and Fridays. Virgin is partnering with the Northern Territory Government and Voyages Indigenous Tourism Australia — which runs Ayers Rock Resort — on the new services to get more people to the middle of the country. And it's aiming to send quite a few more tourists in that direction, with 62,000-plus seats a year on offer thanks to the two new legs. "Uluṟu is a special place in Australia and a cultural landmark that identifies this wonderful country to the world. We look forward to once again connecting Australians and international tourists alike to the spiritual heartland of Australia," said Virgin Australia CEO Jayne Hrdlicka. "We are also proud to be offering direct flights to Uluṟu from Melbourne and Brisbane for the first time. The forecast demand from these cities, coupled with excellent connectivity from our international airline partners, will provide a much-needed tourism boost to the region. Greater competition in the market and more seat capacity to Uluṟu will also provide travellers with more choice and value next time they fly to the Red Centre." [caption id="attachment_905928" align="alignnone" width="1920"] The Salty Travellers[/caption] "Whether it's still on the bucket list or a much-loved destination, visiting Uluṟu is a must-do for international and Australian travellers alike," added Matt Cameron-Smith, CEO of Voyages Indigenous Tourism Australia. "Demand to visit Uluṟu is incredibly strong — driven by a wealth of amazing cultural experiences including the world-first $10-million cultural drone and storytelling experience Wintjiri Wiru — and we can't wait to roll out the red carpet for Virgin Australia's return to the Red Centre." How is Virgin celebrating announcing its new routes? With a flight sale, which is obviously great news for your wallet. Until midnight AEST on Wednesday, November 22, 2023, fares start at $129 one-way in economy, as long as you're keen to travel between Thursday, June 6–Thursday, September 12, 2024. For accommodation, Ayers Rock Resort is doing $150-per-night Lost Camel Hotel stays as well. Virgin's Melbourne–Uluru services will commence on Thursday, June 6, 2024, and its Brisbane–Uluru services on Friday, June 7, 2024. The airline's Red Centre sale is slinging flights from $129 until midnight AEST on Wednesday, November 22, 2023 — head to the Virgin website for more details.
In very English news, everyone's favourite well-mannered witch (sorry Sabrina) Hermione/Emma Watson, has been covertly distributing books on the London Underground. Watson has been sneaking around under the city, like the most conspicuous rat in the world, hiding copies of Maya Angelou's Mom & Me & Mom as part of her feminist book club initiative Shared Shelf. While we dig Watson's initiative and the feminist slant of her book drop, the concept isn't exactly original. She dropped the copies of the book — which is this month's pick for her online book club — on the Tube (complete with personal notes inside them because she's an angel) as part of Books on the Underground, who have been dropping books all over the shop for years. Closer to home, Books on the Rail started a book ninja empire in Melbourne that has rapidly been expanding across the country. Founders Ali Berg and Michelle Kalus have been coordinating their book ninja operation since April of this year. It's a simple concept – BotR distributes hundreds of books on Melbourne public transport. You know their work by the sticker on the front, encouraging you to read, enjoy and return the book. They started the project by giving away their own books and op-shop finds and now get regular deliveries from authors and publishers. The project is fuelled by the sustainable energy of social media, with commuters sharing and reviewing their reads under the hashtag #booksontherail. BotR is also gaining steam in Brisbane and Sydney. They've even recently organised a book club to take place on a Melbourne train. Early reviews dub it 'peak Melbourne'. Via BBC. Image: Emma Watson via Instagram.
After the year that's been, we could all use a few little wins right now. And the next edition of Click Frenzy's online shopping bonanza is happy to provide. Kicking off from 7pm (AEDT) this Tuesday, November 10, Click Frenzy's Main Event is chock full of bargains to help ease the pain that 2020 has supplied so far. Running for 53 hours, the sale is set to feature over 4000 deals and specials from more than 800 local and international brands. Those looking to indulge in some much-needed retail therapy can do so snapping up eye-popping bargains on products from favourites like Big W, Dyson, Myer, Target and stacks more. A suite of 'Go Wild' deals could see you scooping up Apple Airpods Pro for a measly $4, a nifty new airfryer for the low price of just $1, a GHD straightener for $4 or a $9 Samsung TV. Elsewhere, nab new activewear with 65 percent off 2XU, refresh your summer wardrobe with 70 percent off Gorman, fill up your cellar with 70 percent off wine, score 60 percent off bedding from Sheridan and find more bargains courtesy of Bose, Priceline, T2 and Spotlight. What's more, you could even hook up with some new wheels, with the sale event featuring hard-to-beat deals from your mates at Volkswagen and Subaru.
It's not every artist who'd revisit their Year Two saxophone skills on their debut album. But Melbourne's Chet Faker (aka Nick Murphy) isn't afraid of giving anything a whirl for the sake of sound. Following the release of his debut EP Thinking In Textures via Downtown Records in 2012, Murphy gained international high-fives and 'Breakthrough Artist of the Year' at the Australian Independent Records Awards, made an EP with Flume, toured with Bonobo, played at South by South West and scored a Super Bowl ad with his breakthrough cover of Blackstreet's 'No Diggity'. After settling into his own snuggly studio space in North Melbourne, Murphy painstakingly tweaked, experimented and self-produced his debut album Built On Glass, released Friday. An eclectic and unpredictable mix of electronic soul ballads, deep house journeys and hip hop beats, Murphy's love of experimentation and letting sound breathe makes Built On Glass one of the year's most overwhelmingly confident debut releases. Heartbreakingly honest lyrics, minimalist electronic groovery and Murphy's unmistakably soulful vocals make for serious repeat button action. Kicking off a huge worldwide tour in April, Chet Faker will hit venues in UK cities like Dublin, Manchester and Bristol before popping over to European hubs like Paris, Brussels and Amsterdam. Then it's over to the US and Canada for a gargantuan string of dates before heading home for his national Australian headliner tour through major cities and regional centres like Geelong, Port Macquarie and Wollongong. Supporting for all national tour dates is New Zealand dream pop trio Yumi Zouma, whose four-track EP The Brae saw the Christchurch locals gain quite the following on Soundcloud. In the wake of the tour's long-awaited announcement, we had a chat to the 25-year-old Melburnian about his upcoming worldwide debut album tour, his Melbourne performance jinx, jogging on tour and a genuine disdain for pigeonholes. When was the last time you played an Australian show? Three weeks ago. I play heaps here, everyone thinks I don't. They're like, "Really? Come back to Australia and support your home." It's like, I play here a lot. People are like, "Why didn't you come to New Zealand?" I was there four weeks ago! "Hopefully one day you'll come to Ireland." It's like dude, I'll be there in a week. Just relax! So Built On Glass is out, your first LP, congrats! You played everything you hear on the album, excepting one guitar solo. What made you want to play all every last instrument on your new album? Well, because I knew what I wanted to be played. And I'm not rich so I can't just like, pay Nile Rodgers to lay down a track for me. It's just a really personal record. Music just means a shitload to me. I'm usually writing music at the same time I'm recording it... just trying a bunch of stuff. If I want a guitar part, I'm going to play it because I'm there. So it makes sense to play it myself rather than have someone in and it might not work. Did you learn saxophone just for the record? No. Well, maybe sort of. I played sax from prep to grade two. But I hadn't played until last year and I picked it up and could still make a noise out of it. That blew me away. I had no idea that I could still play saxophone. I assumed I couldn't play it, I couldn't remember what notes they were. I picked it up and because I'd learnt 'Tequila' — that was the last song I'd played — I was like bam-bam ban-am-bam ban-a-nam and I was like "What the FUCK?". It was insane! Because there's other stuff as a kid I can't remember how to do, you know? Like cartwheels... Cartwheels, totally yeah. I used to be a really good drawer when I was a kid but I'm not that good at it any more. I used to be able to do a really good cat. Actually I still remember how to do it — it looks like Bubsy, which was a game on Super Nintendo. That's funny, I haven't thought about that in a long time. With your first EP you were kind of sleeping in the same space that you were recording. But this time you had your own space to record Built On Glass? Yeah, I rented a space in North Melbourne in the old meat market. It's an old cooling locker, so it's heritage-listed. It's through Arts House Victoria, so it's really cheap rent, it's cool... We have so much space and I just don't use it. I filled it with stuff and ended up putting myself in the smallest room. I rarely stand up when I'm recording music, most of the time I'm sitting on a chair. I can't remember the last time I stood up to record vocals. I lean into the microphone and I sit in front of the computer. I'll take, sing it, listen back and do it again until I get it right. Well, your voice has a lot of oomph and power behind it, which you usually need to stand up to reach. Well, on this record anyway. The EP was lighter I think, more breathy because I was in my garage. It had a tin roof and in the garage next door to me we had a neighbour. I would usually record late at night and I couldn't sing loud. Whereas on this record, because I have my own soundproof space, I could be there any hour of the night and play as loud as I want and not piss anyone off. So all the vocal tracks are like, full chest voice. I literally couldn't have done this album in the old garage because I couldn't sing that loud. https://youtube.com/watch?v=aP_-P_BS6KY Stylistically Built On Glass is very different, each song is quite unique even though they've got your unifying vocal. Some are hip hop influenced, some are ballads, some are almost house music. How do you find inspiration for each style? I've had this thing, like, all my life: I hate being put in a pigeonhole. More than anything, for some reason. I don't know why it annoys me so much. As soon as you label something you limit it. And I don't want to be limited. An album is usually very definitive, you know? That's the big thing, about making a 'statement' right? So my statement was I wanted to show almost every type of music that I like, because then if I did something like the slow, whatever people call it, "RnB crooner" — it makes me cringe when I hear that, it's gross — style, then I'd limit it. Because if I bring out another record that's like '1998', which I like just as much, people would go, "What the fuck is this?" So it was really important to me that I show the full breadth of all the things I like. Sounds like a good way to go for a debut album. Well that's the idea. Built On Glass as well, the whole "built" thing comes from like, building a career, building a future on a foundation stone of glass, which is fragile, it's honest, it's transparent — this is what I'm into, you know? And it was annoying me that people thought I only did soulful, slowed down tunes. There's even some house moments in there. Yeah, well 'Cigarettes and Loneliness" is 135BPM. That is not soul music. It's hard to pick a track off your debut album, but do you have a particular song you're especially proud of? 'Cigarettes and Loneliness' I think. I mean, they all have their own reason I like them. 'Gold' is the first song I ever played bass on and it's just one note the whole time. I didn't know how to play the bass, so I bought a bass. What I wanted to do was a descending bassline but I couldn't play that properly. But then 'Release Your Problems', which is the first track, I played the bass on that. First bassline I ever really wrote. '1998': house track — I always wanted to put out a house track. 'Cigarettes and Loneliness' is the longest song I've ever done, it's the most honest song I've ever done. The chorus has no drums, it's just two guitar parts and vocals. The song's like eight minutes long and it's 135BPM which is just super fast. You couldn't even play that in a DJ set, it'd freak people out. It's been two years since your first EP Thinking in Textures came out, since then you've won awards, worked with Flume, supported big names, had your song in a Super Bowl ad... Yeah, I always forget about that until people bring it up. That's like the least real thing that's ever happened to me. That's like, really? Was I really in a Super Bowl ad? It's like the childhood memories that you're not really sure if you made it up or it actually happened. https://youtube.com/watch?v=vUsxibgWMs4 You've been touring on and off for about two years, what's one of the most memorable performances you've done? Well, there's different ones for different reasons — there's good ones and then there's like, bad ones. Touring with Bonobo was awesome. I've got mad respect for him. He just texted me the other day, he was like, "What are you doing? You wanna go get a drink?" For a second I had to be like, that's fuckin' Bonobo texting me. That was pretty weird, I had to pinch myself. That tour was cool, I think this tour in June's also going to be heaps of fun. And you toured with Flume as well. Toured with Flume, yeah that was good. Ah... it was alright. They were just like, munted kids who weren't listening. But actually it was fun playing with Flume, because I'd get up and sing with him, that was shitloads of fun. So I crowdsurfed — and you don't crowdsurf to my music. I never had. So that was a lot of fun, stagediving. Did they bring you back to the stage? Yeah, I mean sometimes you get taken away. Here's a lesson for anyone who's going to stagedive: take off any jewellery or hats, people literally rip stuff off you. And I got like, mouth raped at one of those shows on that Flume tour. I don't know if it was a boy or a girl, someone just grabbed my head upside down and did like a Spiderman tongue dash. I was like, woah. By the time I looked, I was somewhere else. It was kind of funny though, but it was an all ages show so its just a bit like... yeeech. https://youtube.com/watch?v=6vopR3ys8Kw If you could tour with anyone in the world, who would it be? Bonobo was pretty up there. Music style-wise, I feel like it's pretty similar. I always looked up to him, awesome crew and band, they really inspired me. Like, some people just aren't as… Just because you love someone's music doesn't mean you like them personally and that was a big lesson for me. And most people won't know that. You know, most people who like my music will assume that them and I would get along perfectly but I'm certain there are people I wouldn't get along with. It's like the same with anyone. So I've met lots of people, I mean, Bonobo, he's as nice as his music is, he's a gentleman. But there's other people I've met that I really liked, I was like, you... are... you are a dickhead. So you've got this rather epic tour coming up, how do you prepare and keep healthy on tour? Are there any tricks? Totally, you have to look after yourself. I do. I actually don't know how some people party on tour all the time. It's not sustainable, like, you just get totally bummed out. Some people can do it though. Some people just figure out this like, route in their brain to not come down from partying. They just party forever. Like DJs, those dudes kill it. I don't know, I couldn't do that. Do you get actual sleep on tour? No. Well, yes if I try and sleep and eat well, but that's not really an option either. It's this weird balance because some people just think you're difficult if you're like "I need celery and gluten free food backstage." They're like, "Geez, this guy's a douchebag." But if you're having a hot dog every night for three months, you start to feel really crappy about yourself. But running is good, I try and go for a run every morning. It's just habit, which is easy to do on tour because it's easier to create new habits in a new environment than one that has existing habits. Do you write on tour? You were saying you write and record at the same time. I can't. I'm trying to at the moment; I'm trying to get a little studio built up. But I really like having a space, but that's not really an option any more when you're touring so much. So I'm getting this little case made up with like, a microphone and a laptop. Harley's so good at it, Flume, he's always working on a track. I can do it, it's just like a habit. I'm trying to start doing that more. It's going to be cool for you to play in Melbourne and show off your debut album to home. Yeah, totally and I don't think I've ever played a good show in my home town. I keep fucking it up. I mean it's my friends there, that's why. I played a bunch of festivals — I mean I think as far as my friends are concerned I suck live, because I keep messing it up for my friends in Melbourne — like, at Laneway I played a bad show, I messed up Meredith and Golden Plains. I had technical problems — I had a broken foot. It's like I'm jinxed in my home town but this tour will be fine, sooner or later I'll do it. Tour Dates: Tickets on sale Tuesday 22 April 9AM local time Thu 12 June – The Wool Exchange, Geelong $35 +BF. Tickets from Oztix. Friday 13 June – Forum Theatre, Melbourne $35 +BF. Tickets from The Forum Box Office, Ticketmaster. Thu 19 June – Astor Theatre, Perth $35 +BF. Tickets from Astor Box Office. Sat 21 June – The Tivoli, Brisbane $35 +BF. Tickets from Ticketmaster. Sun 22 June – Lake Kawana Community Centre, Sunshine Coast $35 +BF. Tickets from Box Office. Tue 24 June – Glasshouse Theatre, Port Macquarie $35 +BF. Tickets from the Glasshouse Box Office. Wed 25 June – Civic Theatre, Newcastle $35 +BF. Tickets from Box Office and Ticketek. Fri 27 June – Enmore Theatre, Sydney $35 +BF Tickets from Enmore Theatre Box Office and Ticketek Sat 28 June – Anita's Theatre, Wollongong $35 +BF. Tickets from Ticketmaster. Thu 3 July – HQ, Adelaide $35 +BF. Tickets from Moshtix and Oztix. Sat 5 July - The Odean, Hobart $40 +BF. Tickets from Ticketmaster and Ruffcut Records.
When the latest version of Mulan starts its story, it does so with a crucial piece of narration that clearly signals the movie's intentions. "There have been many tales of the great warrior Mulan, but ancestors, this one is mine," Hua Mulan's father Zhou (Tzi Ma, The Farewell) advises the audience. Most viewers know the titular character's name from Disney's 1998 animated musical. The Mouse House is behind this new film, too, as part of its growing stable of live-action remakes of its own past hits (see: everything from Cinderella and Beauty and the Beast to Aladdin and The Lion King). But Mulan circa 2020 isn't interested in slavishly recreating the company's last take on the tale frame by frame, just with flesh and blood rather than illustrations — instead, it's smartly interested in retelling the Chinese legend in a rousing and vibrant way. As first transcribed in the Ballad of Mulan in the sixth century, the story of Hua Mulan holds a considerable place in history — and it is easy to understand why. When her elderly and ailing father is conscripted to serve in the Imperial Army, with no son of an acceptable age to take his place, Mulan steals his armour and sneaks off to join the forces for him. To do so, she disguises herself as a man, which none of her colleagues or superiors suspect. The fact that she has considerable martial arts, swordplay and archery skills assists, of course, but Mulan's kindly subterfuge sees her become a formidable and respected warrior who helps save her kingdom. With Whale Rider and The Zookeeper's Wife's Niki Caro in the director's chair, Mulan covers the expected tale; it wouldn't be a Mulan movie otherwise. But this story first fought its way across the big screen in a 1927 silent film, and has been no stranger to the page, stage or cinema over the past 93 years — so just repeating the 1998 movie really would've been the laziest option. Accordingly, the feature's four writers (Jurassic World's Rick Jaffa and Amanda Silver, plus Christmas Perfection's Elizabeth Martin and Lauren Hynek) aren't afraid to wrangle their own version of the narrative, and Caro doesn't shy away from imparting a specific tone and focus either. Where its animated predecessor played the situation in a lighthearted but still respectful manner (think: talking dragons, cricket sidekicks and lively songs about arranged marriage), this iteration adopts a weightier mood, stressing the significance of its protagonist's journey at every turn. Cue details both familiar and new, including ditching the aforementioned Eddie Murphy-voiced dragon for a symbolism-laden (and mute) phoenix, scrapping the romantic subplot with Mulan's commander and delving into the treatment of women in multiple ways. As the Emperor's (Jet Li) military battles invading northerners led by the revenge-seeking Böri Khan (Jason Scott Lee, Crouching Tiger, Hidden Dragon: Sword of Destiny), Mulan (Liu Yifei, Once Upon a Time) not only fights alongside her peers and tries to keep her secret from her mentor (Donnie Yen, the IP Man franchise) and her rival (Yoson An, Mortal Engines), but also comes up against shapeshifting sorceress Xianniang (Gong Li, Memoirs of a Geisha). Mulan isn't very subtle about juxtaposing the two women's plights — nuance is rarely Disney's specialty — but the comparison is always moving. And, with Liu serving up a quieter, more stoic performance and Gong getting a showier part as the outcast on the other side, they offer something that the company's movies aren't always known for: multiple visions of femininity, even in a story that literally tasks its lead with pretending to be male. As a result, Mulan feels like it's forging its own path even when it does hit recognisable notes, either from the 1998 film or from general cinematic tropes. Its central figure is given an almost superhero-esque origin story, involving her innate ability, or qi, because Disney is also the home of Marvel and Star Wars — but in charting her quest to succeed, the film never merely drums to the requisite beats. This version of Mulan was always going to heighten the inspirational angle, too, to rightly reflect today's attitudes; however the emotions it earns are genuine. When a coming-of-age story about a determined young woman defying the shackles of her gender and her culture in a groundbreaking way is treated thoughtfully and intelligently, it's always going to evoke a reaction. While viewers will be watching Mulan on a small-screen — after the feature was originally scheduled to play in cinemas in March, had its date delayed several times until July and August due to COVID-19, then opted for a streaming release via Disney+ instead — there's no missing the movie's visible spectacle, too. Australian cinematographer Mandy Walker (The Mountain Between Us, Hidden Figures) delivers a sweeping feast of lush imagery across a plethora of landscapes, and lenses energetic wuxia-inspired combat action as well. Indeed, this is one of Disney's most sumptuous-looking remakes, and one of its better examples in general anyway. The chasm between the company's best do-overs (Pete's Dragon, The Jungle Book) and its worst (Alice in Wonderland, particularly) is considerable, but this big-hearted, captivating and striking film easily falls into the first category. https://www.youtube.com/watch?v=KK8FHdFluOQ Mulan is available to stream via Disney+ from Friday, September 4, for an extra price of AU$34.99/NZD$39.99 on top of your regular Disney+ subscription. It'll join the service for no extra fee from December 4. Top image: Jasin Boland. © 2019 Disney Enterprises, Inc. All Rights Reserved.
Wearing a pair of R.M. Williams says 'I'm ready for anything'. You could be going to the pub, walking into a work meeting or heading out to the farm to milk the cows. Sparkly footwear doesn't quite conjure up the same feelings of practicality. Well, until now — because R.M. Williams have just released a special run of boots in gold metallic. Joining the likes of Saint Laurent, Gucci and Marc Jacobs, the Aussie bootmaker has combined the metallic trend with their timeless aesthetic, adding a gold colour option to their women's Yearling Adelaide boots. As with each R.M. boot, these have been crafted out of a single piece of leather and feature the same elegant stitching and tapered heel of the regular Adelaide range. R.M.s are arguably Australia's most iconic shoe. From a modest start in the Adelaide outback servicing the stockmen and women of the heartland, 85 years later, a diverse range of people still wear the boots — from farmers in the outback, to corporate businessmen, to the style set at fashion week. Australian designer Dion Lee has used R.M.s regularly in campaign shoots and runway shows, even creating his own for New York Fashion Week in 2014. This latest addition to the R.M.'s women's range is only available online via special order, which means it will take about six to eight weeks before they're delivered. At $545 a pair, they're not exactly cheap — but if you're looking for an investment piece, a pair of R.M.s is the very definition of the phrase. Continuing to embrace contemporary styles and adapting to modern fashion without sacrificing their DNA has surely guaranteed the longevity of this historic label. R.M. Williams' gold Yearling Adelaide boots are available to order online here.
Thursday nights at Alhambra AKA Lambda are famous for many things, some good and some bad. Despite cheap drinks and regrettable hook ups, it's undeniable that the club night’s crowning glory is their ability to give local Brisbane bands the opportunity to perform in front of a rapt (albeit drunk) audience. This week Epithets will be the star of Lambda as they officially release their first single taken from a new album due later this year. Titled ‘Blacklisted’ it is already available for download at their Band Camp, and download I did. There is something very comforting and familiar about the song that I’m sure will prove only to be better live. I would guess that it’s their inclusion of a glockenspiel in the lineup but that might just be personal bias. This is the band’s first show in awhile, however I imagine that once ‘Blacklisted’ takes off and their album is released they will be a very busy group. So come and see them perform as they take baby steps back into the performing world.
Addams Family fans, it's time to get a witch's shawl on and a broomstick you can crawl on, because Netflix — and Tim Burton — are gonna pay a call on popular culture's most famous supernatural brood. Come November, the streaming platform will release Wednesday, the high school-set series about the eerie family's teenage daughter. And, in a way, there's more than one Wednesday on offer. To answer the obvious question, yes, the show will drop on a Wednesday: Wednesday, November 23, in fact. To answer your next two queries, yes, Christina Ricci is among the cast — but no, she isn't playing the titular role, because that honour goes to Jenna Ortega. Ortega is having quite the year, especially when it comes to horror. This new take on The Addams Family follows her roles in Scream, Studio 666 and X already in 2022. When she shares the screen with Ricci, as seen in the just-dropped new Wednesday trailer, the latter plays Nevermore Academy teacher Marilyn Thornill. As also shown in the initial teaser trailer from back in August, Wednesday obviously focuses on its namesake — aka the Addams' eldest child, who plenty of teenage girls with long black hair have been compared to for decades. Wednesday is indeed a teen in the new series, and she has been terrorising her way through schools, hopping through eight of them in five years. Now she's ended up at Nevermore Academy, where her mother introduces her with an apology: "please excuse Wednesday, she's allergic to colour". Morticia (Catherine Zeta-Jones, Prodigal Son) actually met Gomez (Luis Guzmán, Hightown) at the school, and they think that she'll love it — but clearly Wednesday's storyline isn't going to be that straightforward. While she's there, she'll have a monstrous killing spree to stop, and a supernatural mystery linked to her parents a quarter-century ago to solve. Sleuthing, high-school antics and all things Addams Family: that's the spell that Wednesday plans to cast. Also part of the series, as seen in the sneak peeks so far: a creepy, kooky, mysterious and spooky vibe, as befitting a family that has been around for 84 years now, and just keeps scampering around screens big and small like a mischievous severed limb. Wednesday treads in huge footsteps, given that this isn't the first time that The Addams Family has made the leap from a beloved cartoon in The New Yorker to the screen. The 1960s TV series is a gem of the era, and 1991's live-action film The Addams Family and its 1993 sequel Addams Family Values — starring Ricci as Wednesday — are two of the best movies of that decade. (The less said about the recent animated flick and its own follow-up, however, the better.) In Burton, the show boasts a director who could easily be one of the altogether-ooky crew's long-lost relatives, and has spent his entire career channelling their gothic aesthetic. In fact, the trailers look like Burton is filtering his Frankenweenie, Beetlejuice and Edward Scissorhands vibes through Miss Peregrine's Home for Peculiar Children — so, it looks exactly like a Tim Burton-directed version of The Addams Family was always going to. Netflix's eight-part series also stars Isaac Ordonez (A Wrinkle in Time) as Pugsley and George Burcea (Comrade Detective) as Lurch, while Game of Thrones' Gwendoline Christie is also set to pop up. And, in the latest trailer, the new Uncle Fester is revealed — as played by Fred Armisen (Los Espookys). Check out the full trailer for Wednesday below: Wednesday will stream via Netflix from Wednesday, November 23. Images: Courtesy of Netflix © 2022.
In conjunction with Semi-Permanent, Blake House Gallery are hosting an exhibition of Australian artists who have created works of differing styles that revolve around a common theme; that being the distinct lack of colour. No doubt colour is an important part of most art forms, it adds vibrancy and flair that can be eye catching, yet the absence of colour makes for an interesting study in itself. The exhibition, Achromatism (definition: the visual property of being without chromatic colour), is a collection of work that show the impactful nature of achromatic art and how it can be just as enthralling as the most vibrant, coloured work. The lineup for this group show includes: - CJ Hendry - Mark Drew - Jesse Olsen - Ray Coffey - Keiron McMaster - Cezary Stulgis - Duncan Mattocks - Magnus McTavish Achromatism will open Wednesday, October 30, at 6pm. This will serve as the opening event for Semi-Permanent Brisbane 2013 and is open to everybody. Come on down.
Set in the backstreets of suburban Brisbane, Trent Dalton's award-winning 2018 novel Boy Swallows Universe is destined to become an Aussie classic. It follows a young boy, his prophetic brother and his jailbreaking best friend as they navigate the heroin-filled underworld of 80s Queensland. And it's about to come to life on the stage. In September 2020, the stage version of the novel will world premiere in Brisbane. It'll be a co-production between Queensland Theatre and Brisbane Festival, with the former's Artistic Director Sam Strong directing the adaptation, which will be written by playwright Tim McGarry. Brisbane-born author Dalton said in a statement it was only fitting that the stage show should premiere in his hometown, "It was the people of Brisbane who took that wild, strange book and ran with it first and that book belongs to them now and this production will belong to them, too." It has not yet been revealed if the stage show will then travel to interstate theatres, but we'll keep our fingers crossed — and let you know if it does. Boy Swallows Universe has snagged a slew of local awards, including Book of the Year, Literary Book of the Year and Audio Book of the Year at the 2019 Australian Book Industry Awards. The novel, which has sold 160,000 copies in Australia alone, has also been longlisted for Australia's most prestigious literature prize, the Miles Franklin Award. The winners will be announced on July 30. Fans of the novel will be excited to hear that it won't stop at the stage, either — Boy Swallows Universe is also destined for the small screen. Last week, it was announced that Harper Collins had sold the television rights to the novel, with Australian actor and director Joel Edgerton (who recently wrote, directed and produced Boy Erased) set to produce the show alongside Dalton as executive producer. Boy Swallows Universe will world premiere in Brisbane in September 2020 as part of Brisbane Festival. You can sign-up to receive updates from Queensland Theatre here. Top image: Trent Dalton and Sam Strong by Luke Marsden.
Forget socks and jocks this holiday season. This year it's all about experiences. So why not give the gift of local travel and send your friends and family on an enviable journey that sets them up for a stellar 2022? Plus, you'll be helping Australia's tourism industry get back on its feet. It's a win-win. If you know someone who's itching to reunite with big adventure travel experiences, you can stock up on multi-day hike vouchers or surprise them with a whale shark swimming adventure. In partnership with Tourism Australia, we've pulled together a list of thrilling experiences to help you pick the perfect present for the adrenaline seeker in your life.
Delicate jewellery and nostalgia-tinged womenswear is the department of designer Naomi Murrell, who works out of her studio in Adelaide. While her clothes are sold nationwide and have been featured in the pages of Frankie, Yen and Marie Claire, Naomi is a champion for her hometown and its vibrant, growing design and maker scene. In partnership with Pullman Hotels and Resorts, we're helping you explore more on your next holiday and make sure you get those experiences that the area's most switched-on residents wouldn't want their visitors to miss. In Adelaide, we've called in Naomi, whose favourite spots range from an artist-driven tattoo studio to a new retail and event space run by an indie rock power couple. A stay at Pullman Adelaide will not only put you in the thick of all this action, it will let you contemplate all you've seen in five-star luxury at the end of the day. Read on for Naomi's top Adelaide art and design hot spots in her own words, and check out the rest of our Explore More content series to hone your itinerary for some of Australia's best holiday destinations. NAOMI MURRELL Of course I'm biased, but our store is definitely the go if you're looking for a fun outfit or gift. We design minimal, on point yet irrepressibly playful womenswear and fine jewellery. Situated on a relaxed laneway in Adelaide's East End, we stock Naomi Murrell alongside a curated selection of awesome designer pieces including Kowtow, Vege Threads, Kester Black, Spring Court, Bonne Maison, W Pico and Julie White. ENSEMBLE Located on Gilles Street in the city, Ensemble is a collective of like-minded creatives on a mission to bring you beautiful, timeless, style-driven pieces and experiences. These gals have got you covered for hip sustainable threads by Good Studios (Anny Duff), organic bedding and loungewear by Weft Textiles (Samia Fisher), artisan footwear by BB Shoemaker (Beccy Bromilow), E-S-T (Emma Sadie Thomson) greenery and other bits and pieces of handmade designer awesomeness. Look out for pop-up art shows, creative workshops and yoga classes in their gallery space as well. AGOSTINO & BROWN Hidden down an undiscovered city laneway, this spacious warehouse furniture showroom housing the work of Sam Agostino (designer) and Gareth Brown (stellar furniture craftsman) is a very inviting place. Stunning modern, playful pieces with pops of colour and loads of timber await — all finished with impeccable quality. Pieces are made locally in their workshop and many styles are customisable for your own interior space, whether it is residential or commercial. These guys are at the top of many an Adelaide designer and architect wishlist. Agostino & Brown pieces feature in the interiors of both our shop and studio. CULT AND HARPER A new venture by an indie rockstar couple — visual artist Lisa King and musician Jarrad Jackson — Cult and Harper is many things: a retail store, a gallery, a cyclorama photo studio, a bar and event space, and a home to art and DJ types. It is 450 square metres of art, fashion and culture coming at you with a New York-inspired street art vibe. Giant fashion-influenced murals by Lisa collide with posters of Basquiat and Warhol, Keith Haring-esque murals, loads of neon, crimson velvet shell couches and a rad collection of vintage brass furniture. PUSH PIN BOUTIQUE Push Pin Boutique is a darling vintage store housed in the prettiest rustic old building right near the Adelaide Central Markets. It specialises in 1950s-era frocks but also stocks froth-worthy garments, footwear and accessories from the 1940s to 1980s in a great selection of sizes for contemporary women. Owner Clare Matthews has wonderful taste, and the pieces she curates are always perfect for pairing with current trends, whether it's a '70s denim button-through skirt, a white mohair sweater or a camel-coloured French trench. You can always find that special something to add to your collection here. JAMFACTORY A unique not-for-profit organisation housing ceramics, glass, furniture and metal design studios, plus a gallery and design store, JamFactory is dedicated to providing the skills and business training in craft and design to emerging practitioners through a rigorous two-year program. The gallery and store showcases quality contemporary Australian design wares, including works by respected local designers such as Daniel To and Emma Aiston of Daniel Emma, Alice Potter, Sarah Rothe and Peta Kruger. Well worth a look-see! AFRICOLA Strictly speaking, Africola is a restaurant. A very good one. But with an interior fit out designed by James Brown and the gang at Mash, it's more like an intimate gathering at the home of an idiosyncratic art dealer. A dizzying confection of colour, canvases, tiling, lighting and kitsch furniture is all squished together in one amazing experience that will get your tastebuds — and, in fact, all your senses — buzzing. The words emblazoned above the bar, 'Don't Worry It's Only a Dream', serve as reassurance that you are (probably) not tripping and as encouragement to relax and enjoy this culinary wonderland. HUGO MICHELL GALLERY Hugo Michell in Beulah Park is hands down the most refreshing contemporary gallery in town. These guys show a fantastic selection of art by the likes of Miso, Ghostpatrol, Amy Joy Watson, Trente Parke and Lucas Grogan, to name just a few of my personal favourite exhibitions. Hugo has an eye for curating engaging, visually arresting and often very beautiful art shows with an exciting roster of local and interstate professional artists, all at the top of their game. TREADLY BIKE SHOP Treadly is the place to go if you want to build a bike, service a bike, or buy a bike or accessory, if you ride a bike or just wanna talk bike. Sam Neeft and his team of cycling aficionados and mechanics are down to earth, helpful and very enthusiastic about helping anyone with pretty much anything bike related. They also organise fun events such as the Boucle de Burbs and other adventures to encourage the cycling community to hang out and go riding together. And they do it in style with some very attractive bicycles. XO L'AVANT @ THE MILL XO L'Avant is an artist-driven contemporary tattoo studio, run by the loveliest crew ever at The Mill (a CBD co-working space also home to many other talented creative types). Founded by the talented Jaya Suartika (@jayaism), and featuring other resident artists such as Kyle Woodman (@yeahdope), Alex Harris (@folkandpoke) and Nadia Suartika (@__nadika__), the diverse range of illustrative styles on offer are original, amusing, delicate and always on point. Explore more with Pullman. Book your next hotel stay with Pullman and enjoy a great breakfast for just $1.
Andy Warhol once said that he never read, and instead only looked at the pictures. Although that’s not the best advice to give to children, or to anyone really, you have to admit that sometimes admiring picture books is preferable to reading, especially if your novel feels more like an encyclopaedia. Growing up on Australian picture books has made me a little bit biased I’m sure, but I am a great fan of our local authors and illustrators and would recommend them to anybody, young and old. For those like me, wanting to reminisce about old titles or introduce them to a new audience, you’re in luck. For the first time the State Library of Victoria is bringing to Queensland the exhibition Look! The art of Australian picture books today, highlighting collections of artwork by more than forty great Australian illustrators. With the authors including - but most definitely not limited to - Shaun Tan, Graeme Base, Bob Graham, Lucia Masciullo, Stella Danalis, Gregory Rodgers, Leigh Hobbs and Terry Denton you are sure to find enough visual material to fill your imagination with whatever you desire. As well as the extensive collection of artwork there are also plenty of activities for you to partake in whilst reliving your youth. The exhibition runs for the next three months so there is no rush, however escaping into an air conditioned building to peruse the work of talented artists sounds very ideal to me, plus it’s free!
Let's face it, gift giving is hard. Some people are crazy good at it and others, not so much. But wherever you fall on the spectrum, one thing we can all agree on is that personalised gifts always go down a treat. They are thoughtful, functional and oh so beautiful, making them ideal for a special someone who made your year better. This could be the friend who was your rock during lockdowns, the family member you haven't seen all year or maybe it's the partner who gets you knockout gifts every single Christmas. Yes, something customised will take a bit more planning, but that's kinda the point — you want a gift that show's you went that extra mile, because they're worth it. In partnership with Archie Rose and its new Tailored Spirits range, we've come up with six personalised gifts that'll blow your mum, mate or date away this holiday season. TAILORED SPIRITS FROM ARCHIE ROSE Award-winning Sydney distillery Archie Rose takes personalisation to a whole new level with its Tailored Spirits range, which allows you to craft the perfect nip for your fave vodka, gin or cocktail drinker. Not only can you customise the label for your lucky giftee, but you also get to decide on the tipple's botanicals and the potency of each ingredient to completely suit their taste. Once you decide on the label design and flavours via the user-friendly interface, the team will start blending the individually distilled botanicals into a beautifully designed bottle before sending it on its way. The hardest part of the whole process will be not spilling the beans on what you got them. FRAGRANCE DISCOVERY SET FROM LE LABO There are few things more personal than a scent. So, when it comes to gifting, getting it wrong is a big no-no — but no pressure or anything. Le Labo is known for its fine, hand-blended fragrances, which can also come with custom-printed labels and engravings. Can't narrow it down to just one? The Discovery Set features the brand's entire classic range in a 17-strong sample box, so there's bound to be at least a couple of scents they'll like. Once they decide on which one tickles their fancy, there's a gift voucher for them to purchase a 100ml bottle of their new chosen scent. PERSONALISED NOTEBOOK FROM PAPIER Got a special someone who likes jotting down their thoughts and feelings? Perhaps they're planning on doing a course next year which requires journaling or maybe they're one of those people who just loves making to-do lists (we've all got one). Whatever their needs, Papier's gorgeous stationery designs are made even more unique with the ability to customise them with whatever text you like. Add your giftee's name to the front of their new notebook, or include a funny quote you know they'll appreciate on a 2022 planner. BESPOKE PHONE CASE FROM THE DAILY EDITED Whether your gift receiver is a serial selfie taker, a tech-thusiast or a butterfingers who perpetually has cracks in their phone screen, having a nice phone case is an essential accessory. Connoisseurs of all things personalised, The Daily Edited makes a range of bespoke phone cases that suit just about any aesthetic, from eye-catching patterns comprising their initials to designs that showcase their pride. All you have to do is (subtly) find out what kind of phone they have, take a guess at what colour will suit their style and wait for The Daily Edited to weave its magic. PERSONALISED GOLF GOLVES FROM MR GOLF Know someone who has gotten really into golf in the past couple of years? This is the pressie for them. Made from premium Cabretta leather, these sturdy gloves from Mr Golf can be customised with your favourite golfer's initials — so even if they've spent the day hacking up the green, they can still feel like a pro. As well as a range of colours, you can also pick on which hand to stamp their initials depending on whether they're left-handed or right-handed. They might not make them any better at golf, but at least they'll look good. CUSTOM LUGGAGE BY JULY While we're all itching to get on a plane, some of us already have one foot out the door — and for these people, nothing says bon voyage better than a personalised trunk. July makes a range of beautiful and customisable suitcases, including trunks, backpacks, carryalls and accessories. But to go the extra mile, gift them a polished, hard-shell suitcase with a classic design and old-school latches. Customisation goes further here with ultra-cool fonts (or emojis) which are guaranteed to never rub off. The biggest upside of a personalised trunk? There's no chance of accidentally picking up someone else's bag on the airport carousel. Give someone a gift that's truly theirs this Christmas with Archie Rose Tailored Spirits. For more information, head to the website. Top image: Archie Rose
Writers' festivals are getting more and more 'with it' these days. People wear shirts with hashtags on them, you're encouraged to live-tweet questions for authors on panels, and the events are no longer held at local library reading rooms, but cool back-alley warehouse spaces. The kind of place where everyone's wearing black-rimmed glasses and talking about Tao Lin. All this is old news now however, as the Emerging Writers' Festival has just announced the creation of the world's first exclusively online writers' festival to take place in February 2014. While writers' festivals once lamented the damning effects of the internet and digital technology on the written word, the Digital Writers' Festival will be a 12-day celebration of it. Digital publishing, eBooks, alt lit, fan fic, webcams and Twitterbots — the publishing industry and the nature of writing itself has transformed dramatically in even the past few years, and DWF is going to be a dedicated space in which to examine it. This also has a huge impact on accessibility. Do you live in the Northern Territory and always feel jealous when you see pictures of the Melbourne Writers' Festival? Maybe you live in Melbourne, but never felt quite cool enough to head along to the events. Perhaps you tried, but got lost looking for the event down a laneway? The DWF will be the first truly accessible festival for a vast array of people all over country, and more than that, the world. Admittedly it could all be a little confusing though. We talked to the new DWF Director, Connor Tomas O'Brien about what the festival will be and how it will all work. We talked on Twitter because that's what the cool kids do now, right? Right? The full DWF program of events and artists will be released in January 2014.
It has been three short months since Banksy pulled what might be the artist's greatest prank yet — ripping one of his own paintings to shreds the very moment it was sold at auction. If you've watched the artist's extended behind-the-scenes video and still just can't get enough of the stunt, that's understandable. Soon, you'll also be able to see the torn piece with your own eyes, with the artwork going on display to the public for the first time. Originally titled Girl with Balloon and now known as Love is in the Bin, the painting will be exhibited at Museum Frieder Burda in Baden-Baden, Germany, from Tuesday, February 5 to Monday, March 3. Anyone that finds themselves in the European town, which is located in the Germany's Black Forest right near the country's border with France, will be able to cast their eyes over the piece for free. Given Banksy's focus on making art available to everyone, the museum's approach aligns those of the art trickster. It's "designed to allow as many visitors as possible to see the picture," the exhibition website notes. Museum Frieder Burda will also host a symposium about Banksy to put his work and creative strategies into context. It's the latest chapter for a stunt that has sparked plenty of chatter both in the art world and in general since October, when the artwork self-destructed as the hammer fell on the winning bid at London's Sotheby's auction house. As the painting was disintegrating, the collector behind the successful bid was buying it for £860,000 (AU$1.6 million). If Banksy's prank had gone according to plan, only torn strips of the painting would remain — and that's all that'd be able to be placed on show. In the nearly three-minute clip Shred the Love: The Director's Cut, which was posted on artist's website, Banksy reveals that the entire painting was supposed to be cut to pieces. "In rehearsals it worked every time," the video notes. https://www.youtube.com/watch?v=vxkwRNIZgdY In the immediate aftermath of the October 5 prank, Banksy also released a video — showing a shredder being secretly built into the artwork, with an explanation that this was done a few years ago "in case it was ever put up for auction". Sotheby's has repeatedly advised that it had no knowledge of the prank before it happened. "It appears we just got Banksy-ed," Alex Branczik, head of contemporary art for Europe, told The Art Newspaper. Love is in the Bin will be on display at Museum Frieder Burda in Baden-Baden, Germany, from Tuesday, February 5 to Monday, March 3. Images: Olga Rozenbajgier, The Art of Banksy / Banksy.
A lot can happen in 18 days. Relationships can crumble, local football teams can try to break the mould and huge celebratory balls can be held. If you're an avid cinephile, you've probably spotted the connection — they're what this year's Melbourne International Film Festival opening, centrepiece and closing flicks were all about. With the city's annual celebration of cinema taking over the town between August 2 and 19, film buffs also witnessed everything from zombie invasions and giant rock-climbing feats to unlikely heists and high-stakes rap battles. And Italian crime waves, pioneering female rockers and tense murder cases, too. Plus, they did so from the comfort of their cinema seats (although seasoned MIFF-goers will tell you that some chairs are more comfortable than others). From all of that and more, Concrete Playground film critics Sarah Ward and Tom Clift went, watched and came up with a wealth of highlights — movies that, if you didn't see them yourself, you should definitely pop on your must-see list. Many are downright wonderful. Others are weird in a heap of ways. Some couldn't be more surprising. And a few particularly ace flicks hit all three categories. BEST https://www.youtube.com/watch?v=hCF5Y8dQpR4 FIRST REFORMED Ethan Hawke featured in four films in the 2018 MIFF program, and directed one of them. That's an impressive haul; however, only one of the above movies ranks among the highlights not only of his year, but his career. In First Reformed, the actor is at his devastating best as a lonely pastor grappling with the complexities of faith as one of his parishioners (Amanda Seyfried) asks for his help — and as his health woes and his general malaise escalate. With the intensity that's made him such a compelling screen presence for decades now, Hawke wears his character's growing uncertainty and unhappiness like a weathered second skin, one that hasn't felt a warm embrace for some time. He also hits every nuanced, delicate note in Paul Schrader's screenplay, which might just mark the writer/director's weightiest, most sombre and still most daring effort on a resume that includes scripting Taxi Driver, Raging Bull and The Last Temptation of Christ. — Sarah Ward https://www.youtube.com/watch?v=uRF290gedLs SORRY ANGEL At last year's MIFF, BPM (Beats Per Minute) broke hearts and burrowed into souls with its depiction of 1990s Paris — a time when queer men loved passionately and fought proudly for their place in the world, but always found their existence lingering under a cloud. Consider Christophe Honoré's Sorry Angel not quite its successor, but its dance partner, with the two films sashaying through similar space while unleashing their own moves. Here, writer Jacques (Pierre Deladonchamps) meets student Arthur (Vincent Lacoste), and as a bond grows between them, the former's illness and the latter's idealism shape their relationship. Sublimely blue in its bittersweet mood and its exacting colour scheme, the end result is a layered, almost novel-like, always tender and touching study of life and love. — SW https://www.youtube.com/watch?v=efz1ESCpcLo TIGERS ARE NOT AFRAID An enchanting and empathetic debut from writer/director Issa López, Tigers Are Not Afraid tackles a familiar topic in an imaginative manner, seeing the Mexican drug war through the eyes of the children it leaves orphaned. Ten-year-old Estrella (Paola Lara) is one of them, proving at a loss when her mother disappears at the hands of the local cartel, and banding up with a group of similarly abandoned boys in an effort to survive. More than that, however, she's driven to track down the men responsible for their misery — driven by ghostly whisperings from her mum. Spanish-language cinema is thrillingly filled with dark fairytales that unpack the ills of childhood, as Guillermo del Toro has demonstrated more than once, but López's effort is a worthy, moving and mesmerising addition to the fold; one that's as heartwarming as it is heartbreaking. — SW https://www.youtube.com/watch?v=QgE8e6QBtt0 BIRDS OF PASSAGE Drug warfare films sometimes feel like a dime a dozen, but this multigenerational crime saga couldn't be more distinctive. The latest feature from Embrace of the Serpent's Ciro Guerra — directing with producer, editor and first-time filmmaker Cristina Gallego — chronicles the choices and consequences when one of Colombia's indigenous Wayúu families wades into the illegal trafficking trade. And, it does so with the same ethnographic approach that shaped the helmers' previous effort; think strikingly vivid images that highlight traditional locations and costumes, plus a genuine desire to immerse viewers in a specific way of life that's rarely seen on screen. Following a cyclical battle for power and wealth that descends into death and bloodshed, it's a gorgeous gut-punch of a movie, almost like Gabriel García Márquez's One Hundred Years of Solitude tinted with bleakness and set in a unique gangster world. — SW https://www.youtube.com/watch?v=gCHx2m_hQc4 ACUTE MISFORTUNE On paper, it hardly sounds riveting: a young journalist profiles an acclaimed but controversial Australian artist. When Erik Jensen met Adam Cullen, it gave rise to a Sydney Morning Herald article, and then an offer to write a book — and now this astonishing, extraordinarily accomplished filmmaking debut from Thomas M. Wright. Even if you're familiar with both figures (the former is now the editor of The Saturday Paper; the latter won the Archibald prize and courted much attention before his death in 2012), nothing about Acute Misfortune sticks to the expected path. As excellent an Australian film as the country can claim in recent years, this is a fearless dissection of two men, their unconventional relationship, and the stories they both spun and starred in. It also features a powerhouse performance from Daniel Henshall as Cullen, who is as unnervingly, menacingly exceptional here as he was in Snowtown. — SW https://www.youtube.com/watch?v=r7TcFMkShpI APOSTASY In this intimate British drama, the titular term looms large over its three protagonists — a devoutly religious mother and the now-grown daughters she has brought up as Jehovah's Witnesses. There seems little chance that Ivanna (Siobhan Finneran) would ever abandon her faith, although two incidents test her devotion, and her family's: 18-year-old Alex's (Molly Wright) need for a blood transfusion, a procedure that's forbidden by their beliefs; and 21-year-old Luisa's (Sacha Parkinson) embrace of the secular world. Debut writer/director Daniel Kokotajlo was brought up in the church himself, and treads through this fraught territory with both authenticity and a no-holds-barred understanding of the complexities of the situation. Shot with clear-eyed naturalism befitting its premise, the film is also a showcase for its trio of actors, who each seethe with internalised conflict. — SW https://www.youtube.com/watch?v=2lqgxmq24qE SHOPLIFTERS Hirokazu Kore-eda has long been fascinated by questions of family. From Our Little Sister to Like Father, Like Son, the Japanese writer-director has probed and prodded at the indelible connection between siblings, spouses, parents and grandparents, crafting exquisite, often heart-wrenching dramas in the process. His latest film, Shoplifters, concerns an unconventional Tokyo family who must resort of petty theft in order to survive. We won't reveal where the story goes from there, but suffice it to say there's a good reason this funny, moving, quietly provocative film won the Palme d'Or at this year's Cannes Film Festival. — Tom Clift WEIRDEST https://www.youtube.com/watch?v=tKsZlwq19mE MANDY Two words: cheddar goblin. That'll make more sense once you've seen Mandy, and if it doesn't make you want to watch this out-there genre effort, then the movie mightn't be for you. Starring Nicolas Cage at his most Nicolas Cage-like, the film sees the inimitable star play a lumberjack happily in love with his titular partner (Andrea Riseborough) until a cult and their demonic demon bikers decide to snatch her up. Needless to say, things get strange, bloody and unhinged, with director Panos Cosmatos (Beyond the Black Rainbow) making an 80s-set mind-bender that would've even seemed excessive if it came out three decades ago. We mean that in the best possible manner, with everything from the feature's colour-saturated visuals, to its ferocious score, to Cage's glorious performance all hitting the mark — and, perhaps surprisingly, the movie's melancholy tone as well. — SW https://www.youtube.com/watch?list=PLZQfnFyelTBOQ15kmHSgEbdjzLMWzZpL7&v=DTvdgwQfewM KNIFE + HEART It's 1979. Someone is savagely murdering gay porn stars, all of whom work for successful, ruthless producer Anne (Vanessa Paradis). And, as she tries to keep making movies while her actors keep dropping like flies, she's coping with the end of her relationship with her editor. Kudos to writer/director Yann Gonzalez for Knife + Heart's exceptional premise, which also features films within films, creepy legends, spooky woods and rather inventive weapons. Still, it's his lurid execution that makes this a weird and wonderful delight. In his hands, nothing is too much — and we mean nothing. The end result is an assault on the senses that's as brutal as its slasher set-up and as theatrical as its campy tone. — SW https://www.youtube.com/watch?v=gNp0jlfbgqM CLIMAX How do you follow a divisive relationship drama full of gratuitous 3D sex scenes? If you're writer-director Gaspar Noe, with a mesmerising cocktail of carnage, music and sangria. A late addition to this year's Sydney Film Festival line-up, Climax takes place at a dance rehearsal after-party, where petty squabbles and personal baggage spin violently out of control when somebody spikes the punch. Those who are familiar with Noe's previous films such as Irreversible, Enter the Void and Love will recognise all of his trademarks: a pulsating soundtrack, floating camerawork and sequences of exhilarating beauty that make subsequent moments that much more disturbing. Love it or hate it, you certainly won't forget it in a hurry. — TC MOST UNEXPECTED https://www.youtube.com/watch?v=ZfCqeoIP0bY THE DESERTED Forget everything you think you know about virtual reality. With The Deserted, the medium reaches its most immersive, all thanks to Taiwanese filmmaker Tsai Ming-liang. If you've seen the director's previous features, such as Journey to the West and Stray Dogs, then you'll know that he's known for his slow cinematic approach and penchant for patient long takes — touches that couldn't be better suited for his first VR effort. Across 55 minutes, you'll inhabit the same space as a lonely man and the spirits of his mother and neighbour. You'll peer around crumbling buildings and earthy gardens, and you'll even sit in the bathtub with the film's protagonist, too. Thanks to all of the above, you'll float along with this ethereal, intricate treatise on isolation, and you'll devour every stunning sight and sound. More than that, you won't want it to end. — SW https://www.youtube.com/watch?v=2CDKr6n0KDE THE WORLD IS YOURS There are heist films, and there are heist films. The World Is Yours has earned comparisons to Guy Ritchie and Quentin Tarantino's work; however it's no mere derivative take on a well-worn genre. Instead, it's a splashy, stylish, skilfully executed and supremely entertaining effort in its own right, and a mighty fun time at the cinema. Perhaps best known for making music videos for M.I.A., Simian Mobile Disco, Kanye West and Jay-Z, and Jamie xx, French filmmaker Romain Gavras turns this account of small-time gangsters dreaming big into a cool, comic and confidently engaging caper that drips with energy and charm from start to finish. Veterans Isabelle Adjani and Vincent Cassel take to their roles with glee, but it's A Prophet's Karim Leklou who stands out among the movie's stars — playing the son of a seasoned grifter who just wants to pull one last job so he can sell icy poles in North Africa. — SW A final note: if you're wondering why some of this year's other excellent MIFF efforts aren't on our list, that's because we've already showered them with love. We were keen on The Green Fog, Profile, An Elephant Sitting Still, Transit, Museum and Aga at Berlinale, plus Leave No Trace, The Rider, Burning, Searching, Cold War, The Guilty and Tyrel at Sydney Film Festival. Then, we fell head-over-heels for Let the Corpses Tan, You Were Never Really Here, Caniba and Zama at Queensland Film Festival, and adored Angels Wear White, Skate Kitchen, Lean on Pete and Strange Colours before MIFF even started.
In the latest example of movie land crossing over into reality, a Japanese team has created a four-metre-tall Transformers-style robot that can switch between walking mode and vehicle mode in about a minute. The work of robot software company Asratec, a prototype of the J-deite RIDE robot was unveiled last week, and will be on show at the GoldenWeek DOKIDOKI Festa All Working Cars Assemble in Tokyo on May 5. The design is operated both by wireless network remote control and by a steering wheel in the cockpit, with two people able to ride inside at once. Asratec's unique V-Sido robot control systems allow the robot to transform from a driveable car to a walking humanoid giant, though clocking in at around 60 seconds, it's fair to say the process isn't quite as speedy as in the movies. A group called Sansei Technologies is now looking to develop the technology for 'robot-type amusement rides' — it sounds like transforming go-karts could be just around the corner.
If video game cutscenes ever made the leap to cinema, Warcraft: The Beginning would be the end result. Fashioning a film from the interactive fantasy franchise, the long-awaited movie version functions in much the same way: advancing a narrative, fleshing out characters, and delving into material that can't always be gleaned during gameplay. That's the good news. The bad news is that it also looks and feels the part. That's not an indictment of the movie's impressive special effects, but a reflection of the unfulfilling way the feature seems like it was pieced together from standard in-game sequences rather than specifically made for the cinema. Directed by Duncan Jones (Moon, Source Code), and co-written by the filmmaker with Charles Leavitt (In the Heart of the Sea), Warcraft: The Beginning takes viewers to the realms of Draenor and Azeroth. The former, the home of the orcs, is dying, with warlock Gul'dan (Daniel Wu) using a magical force called the fel to transport his people to the latter. Durotan (Toby Kebbell), the leader of one of the orc clans, is wary of this plan, but also has his pregnant mate Draka (Anna Galvin) to worry about. Upon their arrival, they're hardly greeted with a warm welcome by Azeroth's suspicious human inhabitants — including King Llane Wrynn (Dominic Cooper), knight Anduin Lothar (Travis Fimmel), mystic Medivh (Ben Foster) and aspiring magi Khadgar (Ben Schnetzer) — although the orcs' penchant for warmongering doesn't help things either. A clash between orc and mans ensues, and at this point, audiences could be forgiven for wishing that the Lord of the Rings and Hobbit films didn't exist, or that their enormous popularity hadn't cemented the template for the action-fantasy genre. Charged with the difficult task of bringing a multi-player game to the big screen, Warcraft: The Beginning takes far too many cues from Middle Earth. The film might gather its details from the game series that dates back to 1994 in various forms, but in turning them into a feature, it's content to dwell in generic territory. Simply put, you've seen this stuff before. A derivative game-to-film adaptation isn't the same as a bad one, though it does struggle to maintain interest. The need to set up potential sequels is made clear in the movie's title; however as the battles stop seeming distinctive, and the characters chart familiar paths, it makes much of the feature feel like filler. Jones knows how to handle action and exposition, and convey a strong sense of grandeur as well, but remains trapped by his world-building mission and the need to stick to the formula. Try as they might in both live-action and motion-captured performances, the cast are placed in a similar predicament, particularly Paula Patton as half-orc, half-human outcast Garona, who is literally caught in the middle. When the best a movie based on a computer game can offer is CGI wizardry, something has obviously gone awry. Once fans have had their fill of clocking knowing references, even they'll likely wish they were just playing the game instead. And for everyone else — don't expected to be recruited to the horde just yet.
The language of the body (and no, I don’t mean in the dialect of ‘making love’) is often underrated. Occasionally though, a dance work reminds us how powerful the body can be in expressing emotion with intense honesty to a wide audience. Out of Context – for Pina, is a dance work by les ballets C de la B, choreographed by Alain Patel. To say it is widely acclaimed is an understatement - it has received 15 minute standing ovations when staged across the globe. Audiences with different spoken languages clearly respond to the truth of the movement, a universal language. The work explores life without boundaries, with the performers using uncontrolled movements and pure dance to express this, all the while with moving and contorting performers emitting bizarre noises on an essentially bare stage. All of this combines to create a work that reveals the difficulty and beauty of life, the good and the evil, the individual and the community and audiences are asked to look at the connecting wires of humanity. The work is dedicated in part to widely applauded German choreographer Pina Bausch, one of the most important contemporary choreographers. Reviews for this show are rave to say the least, with reviewers strongly encouraging audiences beyond the dance realm to attend this rare and moving performance.
They're the masters of immersive thrills, such as smash-hit shipping container installations Seance, Coma and Flight — also known as the Darkfield series. But not even the folks at Realscape Productions are immune to the realities of pandemic life. After spending much of the year locked down with the rest of Melbourne, the team put their nerve-jangling real-life projects on hiatus and whipped up a series of brand-new audio experiences. All of Realscape's recent collaborations with UK creators Darkfield have been designed for fans to enjoy from the comfort of their own homes, such as Double and Visitors — and they've been geared to be every bit as creepy and unsettling as their IRL predecessors. But the next addition to the series, Eternal, promises something extra special. It is inspired by Bram Stoker's Dracula, aka one of the best horror novels ever written (and certainly the best vampire novel), after all. Available until Sunday, January 31, Eternal is presented via the producers' new digital project Darkfield Radio. Like its siblings, it plunges participants deep into an immersive experience by perplexing the senses — with the use of a 360-degree binaural sound, played through your own headphones. But while this year's other shows were aimed at groups of two, this one is made for listening to solo, at home, while you're alone in bed. Originally commissioned by Ireland's Bram Stoker Festival, the 20-minute-long Eternal explores the allure of living forever — and will get you pondering what you'd willingly do to avoid death. The uneasiness everyone feels when they hear something go bump in the night also plays a part, because that's just the kind of sensation the production aims to conjure up. To listen along, you'll need an $11.40 ticket, and to book a spot a late-night spot — with the show available at select times Thursday–Sunday (with exact slots depending on the day, but 9.30pm, 10pm, 12.30am and 1am times, all ADST, on offer). And if you haven't yet given Double and Visitors a listen, they're still available as well. Yep, you can make it a triple feature if you'd like to get especially eerie one night.
Our society has a love affair with retro. From vintage clothing to a quirky antique find, we cannot seem to get enough. Yet no retrospective romance seems to be as durable or resonate as emphatically as our relationship with vinyl records. No matter what market you go to on the weekend, the lure of a full crate of musical treasures is irresistible, causing fingers to curiously flick through the collection before finding that gem to take home and play on your record player (that you probably bought at the same market immediately afterwards). At First Sight understands this fascination and is taking over Carriageworks on Saturday, July 20, with an enormous record fair and live music event. So whether you are an audiophile or you just have an intangible sensory relationship with those black discs, you are sure to find something at this brand new utopia for vinyl fans. To better understand this connection with vinyl, Concrete Playground asked some of the musicians performing at the event just why these musical mementos retain their aura. Amy Franz, SUPER WILD HORSES What is your favourite memory involving vinyl? I must have been about 14 and there was a boy on whom I had a debilitating crush — the kind of crush that is crushing, as happens when you're a teenager. He gave me a 7" of the Stone Roses, 'She Bangs the Drums', and at the time I felt like he was trying to tell me that I should be a drummer. We'd had a jam at my house with a whole lot of music gear I took home on loan from the school music department and I think I'd bashed something out on the half a drum kit I had. It was probably the biggest musical encouragement of my life. It took me another 12 years to get around to playing the drums. Antonia Sellbach, BEACHES Why do you think vinyl retains its popularity in the digital era? Music sounds better on vinyl. There's also the whole sense of tradition and ritual to vinyl. By having to turn over a record at the halfway point you're more connected to the whole album experience. It's the ultimate surviving format, partly because it provides a much needed counter to the digital era. Vinyl is an object, a thing. It takes up space, it's a commitment. If you truly love an album, you'll probably buy it on vinyl. And album artwork always looks better in 12"x 12". Kate Wilson, THE LAURELS What was the first vinyl you ever purchased and why? I think my first was Frenzal Rhomb's 'Sorry about the Ruse' 7" single. I still have it, although I've lost the insert. The insert was a letter from Depeche Mode's record label, (unfairly) denying Frenzal Rhomb permission to release a song based on 1981 smash hit 'Just Can't Get Enough', entitled '(How can I) Fuck the System (If I just can't get it up)' — it was included as the B-side anyway. You could get it with a blue or a green cover — I got the green one, and my friend the blue. I remember we fabricated some loose and spurious pretence to bring them not only to school, but also into the classroom, where I recall we just kind of lovingly gazed at them. Being a severe teenage dork who carried a record like a teddy bear meant incredible parties and first dates were not on the agenda for me at that time. Why do you think vinyl retains its popularity in the digital era? Trends can often be retaliatory in nature. I think vinyl is the counterpoint to the impermanence, and inability to tangibly "own" digital media. There's a healthy element of childhood nostalgia, courtesy of parent's record collections. There is also the wildly addictive sport of crate digging. Additionally the length of the LP's reign as the dominant medium, coupled with the fact that people discarded whole collections when digital took over, mean there is a hell of a lot of music out there. The abundance keeps the price low and the variety high. Record collecting is one of the greatest and most rewarding strategy games on earth! You have to be quite knowledgeable about music to derive pleasure from flicking through dusty LPs for hours on end, so I think there is a carry over to the more casual music buyer that vinyl is the format of choice for people who are seriously into music, an idea abetted by the fact it's seen by most audiophiles as the superior sound format. Ben James, SONGS What is your favourite memory involving vinyl? Buying my own record player. Listening on my brother's before that was a no go, and annoying — I could only listen at half volume so that I could still listen out for him coming home and avoid a good thrashing. Emma Ramsay, HOLY BALM Why do you think vinyl retains its popularity in the digital era? VHS has not disappeared. The technology may have been surpassed but there will always be people interested in hacking old technology in creative ways or wanting to 'experience' older technology. VHS is still in people's lounge rooms, attics, garage sales. Vinyl retains popularity in the digital era, because the analog era still exists, it has not ended per se. They co-exist. And so one informs the other, giving an extended network and experience of how we find new music, and dig up old favourites. MARTY DOYLE, At First Sight Curator and FBi Presenter What was the first vinyl you ever purchased and why? I was born in the '80s. The ideals of the time were all about the race for the latest technology, so that meant cassettes and Walkmans with Dolby Noise Reduction for me. My dad had a lot of records, but i just thought they were things he rolled 'cigarettes' on. It wasn't until i was about 12 and started listening to hip hop that I paid attention to vinyl. When i saw footage of Grandmaster Flash DJing at a Block Party, i thought it was the coolest thing ever. 2 turntables and scratching? I went straight to my dad's record collection and started digging through it and I was amazed to find all this stuff in there I had heard from hip hop samples. I think the first record I found and recognised was Boz Scaggs 'Low Down' which was sampled by Sparky D. That was really the start of my vinyl obsession. I still bump that Boz Scaggs record, it's the definition of sophisticated easy listening. Owen Penglis, STRAIGHT ARROWS What was the first vinyl you ever purchased and why? I first started buying records because they were heaps cheaper than CDs — as a 14 year old you've got plenty of time to burn digging through the $2 bin, and you'd usually come out with something you'd heard of before. I pulled out The Eagles The Long Run because I'd heard they were supposed to be good. Let me tell you, they are fucking terrible: boring cocaine country rock shit. I threw the album in the oven and learnt that not only do LPs make for unusable bowls, but there's no time for shitty music. Why do you think vinyl retains its popularity in the digital era? It smells better than CDs. At First Sight is on at Carriageworks on Saturday, July 20. The record fair is free and entry to the live music is $35.
When you were watching Ocean's Eleven, did you ever think to yourself "this is great, but I really wish someone was trying to eat George Clooney's brains?". Every time you settle in for an episode of The Walking Dead, do you find yourself hoping that someone — anyone — would mastermind a scheme to break into a casino vault? Whichever thought has popped into your head, you'll soon be able to see what a Las Vegas heist flick looks like when it's paired with the zombie genre. That's the whole premise behind Netflix film Army of the Dead, one of the big new movies the streaming platform has lined up for 2021. If the overall concept sounds somewhat familiar, that's because you probably saw Train to Busan sequel Peninsula last year — another zombie-heist film hybrid. The huge difference here, of course, is the Las Vegas setting. Well, that and the fact that Army of the Dead stars Guardians of the Galaxy's Dave Bautista and is directed by Justice League's Zack Snyder. You definitely won't forget the latter based on the just-dropped first teaser trailer for Army of the Dead, because it spends about half of its brief running time stressing exactly who is behind the lens. And as for all the shuffling undead hordes and pilfering antics, the movie follows a group of mercenaries who decide to take advantage of the situation by breaking into the casino-filled quarantine zone. When the movie hits Netflix on Friday, May 21, viewers will also spot Garret Dillahunt (Deadwood), Tig Notaro (Music), Ella Purnell (Sweetbitter), Omari Hardwick (Power), Ana de la Reguera (also from Power), Theo Rossi (Luke Cage) and Matthias Schweighöfer (Resistance), plus Nora Arnezeder (Mozart in the Jungle), Hiroyuki Sanada (Westworld), Raúl Castillo (Knives Out) and Huma Qureshi (Viceroy's House). And yes, Snyder has toyed with zombies before, in the 2004 remake of Dawn of the Dead. Here, though, he's aiming to set up his own franchise — with a prequel movie and an animated spinoff series already greenlit. Check out the trailer below: https://www.youtube.com/watch?v=H83kjG5RCT8 Army of the Dead will stream via Netflix from Friday, May 21. Top image: Clay Enos, Netflix.
If you thought Melbourne getting a George Costanza bar was cool (or maybe you're just more of a Beetlejuice fan), you'll be pretty impressed by New York City's latest attempt to one-up itself when it comes to themed establishments. Set to open early next month is a Tim Burton-inspired bar and restaurant, very aptly named Beetle House. Millennium made. The Manhattan bar comes from the same team who thought (and were indeed correct in doing so) that the island needed a Will Ferrell-themed bar, which opened in October last year. Beetle House, however, promises to recreate Halloween all year-long with "an atmosphere and menu inspired by the works of Tim Burton". Perfect for the regular Edward Scissorhands or ghosts stuck haunting the East Village. Potions will include the likes of the This Is Halloween (a concoction of pumpkin, cinnamon and apple liqueurs, ginger beer and apple cider) and the We Come In Peace, which is a questionable mix of salted caramel vodka, RumChata, cream and a caramel swirl salted rim. Other well-named sips include the likes of Edward's Lemonade, It's Showtime and Beetlejuice (naturally). Drink at your own peril. To eat, you can choose from the likes of Beetle Bread bruschetta, the Victor Van Pork burger and the Sweeney Beef steak. Beetle House is located in the East Village at 308 East 6th Street. If you've got a trip planned to NYC anytime soon, we suggest booking a table in advance lest you have to go to an unthemed restaurant instead.
Not every city gets its own book filled with love stories from locals that's penned by one of its best-known and beloved authors and journalists. Thanks to Trent Dalton's Love Stories, however, Brisbane boasts exactly that. It was back in 2021 that the Boy Swallows Universe scribe spent two months on the corner of Adelaide and Albert streets in Brisbane's CBD, Olivetti typewriter in hand, asking folks walking by for their romantic tales. His question: "can you please tell me a love story?". Those yarns came to the page via his 2022 Indie Book Awards Book of the Year-winner, and they're also hitting the stage during Brisbane Festival 2024 thanks to a theatre production of the same name. Dalton's writing career is filled with affection for Brisbane — as evidenced, of course, in Boy Swallows Universe on the page, stage and screen — and he isn't done showing it while collecting tender tales from his fellow Brisbanites. Also for Brisbane Festival, he's asking for love stories again. [caption id="attachment_969254" align="alignnone" width="1920"] David Kelly[/caption] Dalton is Museum of Brisbane's next artist in residence, and there's two parts to it, both of which want you to share your tales. From Friday, August 30–Sunday, September 29, 2024, Write Your Heart Out is taking over the Brisbane City Hall site, getting visitors to add their love letters across the month. Dalton is still busting out his Olivetti, too, popping up in King George Square taking place from 12–2pm on Friday, September 6 with fellow writers to take down love stories from passersby. Taking tales from the public will also serve as a part of a mentoring session, with Dalton imparting advice on interviewing skills to the group of emerging writers that'll be assisting in an intensive workshop. Dalton and the Write Your Heart Out residency is looking for all kinds of love stories, whether about first loves, loves that got away, long-running loves or anything in-between. If you're keen to pen your own rather than tell it to Dalton and his team directly, you'll be able to sit down and write at MoB. [caption id="attachment_969257" align="alignnone" width="1920"] Andie Dittman[/caption] Top images: Andie Dittman.
You'll never have to fret over your iPhone dying again, thanks to this genius new phone case designed by Jesse Pliner and Lloyd Gladstone. Dubbed the 'JuiceTank', this sleek case effectively conceals the electrical outlet plug within. Press the button on the back of the case, and the outlet prongs pop out. Not only can you rely on JuiceTank to come to the rescue in battery emergencies, but its high-grade polycarbonate cover provides solid phone protection, minus excessive bulk. The case is currently fit for any North American plug and awaiting production funding on kickstarter.com.
The common wisdom, as taught to us by John Howard, that most progressive of reformers, is that less guns on the street equals less gun violence. Seems like a simple enough equation. It seemed to work in Australia after the 1996 Port Arthur massacre and its been the driving idea behind New York's tighter gun legislation. Yet in 8 unbelievable seconds all of our assumptions about gun control and gun legislation became frighteningly and irrevocably obsolete. Thanks to a little thing called 3D printing, a group of Texan anarchists and libertarians known as Defense Distributed have made printable weapons not only conceivable but 100 percent possible. With nothing more than a few-thousand-dollar printer, a couple chunks of plastic and an online file (which you can download for free right now!), you can make a lethal weapon from the comfort of your own living room. As of March, more than 10,000 people had already downloaded one such gun-making file. Unsurprisingly, this development has got US legislators going into overdrive. Earlier this week, New York became the first state to take decisive action on the issue introducing a bill that would make it illegal for anyone but a licensed gunsmith to create a firearm using a 3D printer. The bill also includes a number of important restrictions such as compulsory police notification, registration of any weapon within 72 hours of creation and limits on bullet production. California is expected to introduce a similar bill in the coming weeks. While such legislative action is understandably important, the New York bill ain't about to put a stopper on the production of homemade weapons. According to New York University's resident gun law expert, James B. Jacobs, the Second Amendment will be the least of legislators' worries. He argues that while printable weapons can be restricted in much the same way as assault weapons have been, banning the files that allow you to print 3D guns is a much more difficult prospect. "The First Amendment will not permit banning posting software that would allow 'printing' such a weapon, just as we can't ban Al Qaeda literature on building pipe bombs,” Jacobs says. Whether this technology will make any discernible difference to America's already gun-enriched culture remains to be seen, but for the moment the thought of 'gun labs' popping up in the garages of wayward youths across the country has me scared shitless. Between this and a few fairly spine-tingling videos, it seems fair to say that the possible repercussions of having printable weapons are only just beginning to emerge.
Adding to the rejuvenation of the Northbank Precinct — stretching from Spencer Street to the Charles Grime Bridge — 1 Hotel Melbourne will serve as a headline destination, featuring a meeting of luxury and sustainability. Ahead of its opening on Thursday, June 19, this eco-conscious hotel now has a flagship culinary partnership to match, with Australian chef Mike McEnearney brought on board to present From Here with Mike. Renowned for his ingredient-first, low-waste approach and Sydney-based eatery Kitchen by Mike, McEnearney offers his signature seasonal, ethical and sustainable cuisine at this latest venue. "From Here by Mike will be a true reflection of what's possible when like-minded people come together with a common purpose. I'm proud to bring this vision to life in a space that truly honours nature, community, and above all, good food," says McEnearney. Launching for breakfast, lunch and dinner, guests can look forward to simple, thoughtful cuisine informed by Victoria's abundant pantry. Raising up low-impact farming, hyper-local sourcing and minimal intervention through its menu, nourishing dishes are designed to bring diners closer to their food, with direct parallels drawn between each ingredient and how it arrived on the plate. While the full menu is still to be revealed, think freshly shucked oysters with pickled daikon and finger lime vinaigrette; twice-baked goat's cheese soufflé with rosemary cream; and wood-roasted cockerel with vadouvan sauce. Honest and rooted in nature, each dish is intended for sharing with loved ones, where you can connect over cuisine and experience a joint sense of wellbeing. From Here by Mike's wine program strikes a similar beat, with 40 percent of the selection centred on Victorian wines created with minimal intervention, using biodynamic, organic and sustainable methods. Meanwhile, the cocktail menu will emphasise sustainability, as the culinary team repurposes diverse ingredients and sources local, seasonal products. Designed to complement the cuisine menu, expect outstanding food and drink pairings. Years in the making, 1 Hotel Melbourne is almost ready for launch, with its 220 metres of uninterrupted river frontage bringing an attention-grabbing element to North Wharf. Joining the brand's properties in London, Copenhagen, New York City and beyond, guests will discover a sophisticated blend of luxury and sustainability, with top-notch dining and wellness amenities supported by a design brimming with reclaimed materials and eco-driven practices. From Here by Mike opens Thursday, June 19, at 1 Hotel Melbourne, 9 Maritime Place, Docklands. Head to the website for more information.
If your ultimate Saturday morning is a leisurely Bunnings shopping session followed by a saucy snag in bread, why let the fun end there? Soon, you'll be able to make a proper weekend of it with a new Mercure Melbourne Doncaster hotel set to open smack bang on top of a Bunnings Warehouse. The work of global hotel group Accor and developer Accord Property Group, the unlikely pair are slated to be up and running by late 2021. Located in the heart of the bustling Doncaster Hill precinct, together they'll provide the prime spot for a snag-based staycation. Along with a couple of levels dedicated to retail offerings, the mid-range hotel will boast 183 rooms across six floors with interiors that reference parts of the area's history, including the southern hemisphere's first electric tramway: the short-lived Box Hill to Doncaster tram. It'll have all the usual trimmings you need for an overnight stay, too: a dining terrace, restaurant and bar, rooftop pool, fitness centre and sundeck — as well as a full-size, sparkly new Bunnings Warehouse, of course. And if tools, paint and plants don't offer quite enough retail therapy for you, Mercure Melbourne Doncaster also sits handily adjacent to the huge retail precinct that is Westfield Doncaster shopping centre. Mercure Melbourne Doncaster is set to open at 659 Doncaster Road, Doncaster in late 2021.
The Sydney Film Festival wrapped up on Sunday, June 15, after a perfectly eye-opening 12-day movie marathon. Here's what our critics loved, loathed, admired and squirmed over. The Best Films https://youtube.com/watch?v=baJK7EhCTEI BLACK COAL, THIN ICE Black Coal, Thin Ice is an exceptionally rare film in which not a single frame feels wasted. A run-down industrial city in China's frozen north provides a perfect backdrop for writer-director Diao Yinan's archetypal film noir, about an alcoholic former cop obsessed by a dead-end case. Slow pacing and minimal narrative exposition rewards an attentive viewer, but the true appeal of this ice-cold thriller is Jinsong Dong's immaculate cinematography. Although rarely flashy, every shot is invested with both an eerie beauty and a fascinating purpose, while simple images often take on new meaning as the camera patiently lingers. You'll be lucky to find a better made film this year. https://youtube.com/watch?v=06BNjqSsGqo TWO DAYS, ONE NIGHT Riveting dissections of realistic situations: that's where siblings Jean-Pierre and Luc Dardenne have made their careers. Continuing in the same finessed vein, Two Days, One Night compels by rendering relatable, repetitive circumstances without sentiment but with surprises, following Sandra's (Marion Cotillard) attempts to convince her co-workers to forgo a cash bonus to save her job. The precision with which the filmmakers present a feature almost solely comprised of conversations cannot be underestimated, nor can Cotillard's expert efforts in illustrating the fragility of her striving but uncertain protagonist. Small in stature yet striking in its statement, this is a rare and rewarding example of the best film of the festival emerging victorious as the competition winner. https://youtube.com/watch?v=ISaSHUSrEUw BOYHOOD We usually give a film props for being either wildly experimental or successful in what it does. So to watch Boyhood, a film that's both of those things (as well as hugely entertaining), is almost overwhelming. The applause once the credits started to roll was instant and resounding, and it's surely poised to take out the Audience Award. The film's point of difference is that it was filmed over 12 years, using the same cast of actors, including Ethan Hawke and Patricia Arquette. Its focus is Mason (Ellar Coltrane) as he grows from 5 to 18, capturing his coming of age in a way that's ultra authentic and driven by the cast and creatives' real experience of the world. The effect is to transport you back to childhood and adolescence without your attendant judgement or cynicism, and it's a wonderful little gift. If you thought director Richard Linklater had already made his biggest impact on the film world through Before Sunrise or rotoscoping, think again. https://youtube.com/watch?v=rIEf5T3U2YA YOU'RE SLEEPING NICOLE Many films spring to mind during French Canadian comedy You're Sleeping Nicole, including Frances Ha's quirky quarter-life crisis, Ghost World's vagaries of female friendship, and After Hours' freewheeling overnight anarchy; however, Stéphane Lafleur's direct-from-Cannes offering never suffers for the comparisons. Charting its 22-year-old titular character (Julianne Côté) as she navigates the summer sans parents and struggling to sleep, it crafts a love letter to its influences and an endearing effort in its own right. There's slightness in its concept and skit-like construction, but also a sweet mood and amusing tone in its vignettes of mostly ordinary, sometimes eccentric escapades. The exquisite black-and-white cinematography draws the eye just as the eclectic gags charm the soul, in the epitome of an offbeat delight. https://youtube.com/watch?v=KinAEqb3Kts TOM AT THE FARM Xavier Dolan's Cannes Jury Prize-winning Mommy rightly overwhelmed audiences with its onslaught of aesthetics and emotions; however, it is Tom at the Farm, his previous feature, which stuns with its several layers of sheer audacity. Ostensibly the odd film out in the wunderkind writer/director's oeuvre, his fourth effort in as many years is a tense and twisty thriller of grief, desire, acceptance and identity. Playing Tom, Dolan nourishes on screen (as with off), conveying the claustrophobia and complexity of the character's rural trip to pay respects to the family of his deceased boyfriend. When awkwardness begets a strange accord within visually and thematically constrained confines, so blossoms an elegantly disarming offering that earns its Hitchcockian parallels. https://youtube.com/watch?v=TyvfQIdx_Ao WHAT WE DO IN THE SHADOWS The perfect antidote to a program full of worthy social dramas and three-hour-long Palme d'Or winners, Sydney's closing night film was an unmistakable highlight. Flight of the Conchords star Jemaine Clement and Eagle vs Shark director Taika Waititi write, direct and star in what's billed as the latest project from the New Zealand Documentary Board: an in-depth look at the lives of four vampires who share a run-down apartment in Wellington. Think This Is Spinal Tap but with more severed arteries. Clement and Waititi have enormous fun playing with undead mythology (for example, their characters can't get into clubs unless they're specifically invited in.) Keep your eyes peeled for a release before the year is out. https://youtube.com/watch?v=K1nEmIZtrFU PARTICLE FEVER This is the film that makes physics funny and personable. Particle Fever went behind the biggest, most expensive and most controversial scientific experiment ever conducted — the Large Hadron Collider, which recreates the conditions of the 'big bang' in an effort to view the basic particles needed for a stable universe and create a blueprint for modern physics. But what it really showed us was the Mensa-style odd-bods working on the LHC — funny, yearning, obsessive individuals who make coffee, play ping-pong, decipher unintelligible contemporary art and carry regrets just like all of us. Particle Fever meets the universe's biggest questions with simple, elegant, beautiful answers, or the prospect of total, inexplicable chaos. Who would've known that documentaries can provide such childlike escapism. Miracles and wonder. The Boldest Experiments https://youtube.com/watch?v=gZscgKNT2MI FISH AND CAT A two-hour film, made in one take? A film with no editing? Once again, Iranian cinema showed us that it's at the forefront of global filmmaking. Fish and Cat went beyond what could be a gimmick to deliver one of the most compelling experiences of the festival and divide audiences (including our little reviewing team). The film portrayed a collection of professional kite-flyers embarking on a camping trip by a wintery lake and spindly forest, a series of ghostly presences, and a cyclical narrative that plays with time by showing us the same moments from different characters' perspectives. Often high concept films elevate tricky narrative ploys, but Fish and Cat went beyond cleverness to show us something honest and true. Rehearsed for two months and shot in only one take — and inspired as much by mathematics, MC Escher and physics than by cinema — Fish and Cat suggests more films need less editing and more spirit and intelligence. https://youtube.com/watch?v=TgsfyMMYAZI MANAKAMANA A cable car traverses the lush greenery of the Nepalese mountains, ferrying its contents to and from the Manakamana Temple. Each load of passengers contains pilgrims seeking the wish-fulfilling gifts of the temple's Hindu goddess — and while diverse in their constitution, they remain united in their journey. Filmed in 16mm and comprised of 11 rides towards and away from the famous destination, the documentary that shares its name continues the immersive observational ambit of Harvard University's Sensory Ethnography Lab, as previously evidenced in 2009's Sweetgrass and 2012's Leviathan. Each segment, shown uncut and spanning approximately ten minutes in duration, stands alone as couples sit in silence, friends chatter about music and play with a kitten, and even goats enjoy the aerial view, yet together they make a hypnotic and rhythmic whole. MOMMY The latest film from 25-year-old enfant terrible Xavier Dolan pours unconstrained emotion into a claustrophobic space. Shot in boxy 1:1 aspect ratio, the film tells the story of fiery widow Dianne and her troubled teenager Simon, a pair of bombastic outsiders in a white-bread, buttoned-down world. Anne Dorval and Antoine Olivier Pilon are both stunningly good, their performances positively glowing with uninhibited feeling. The tightness of the frame, meanwhile, reflects Di and Simon's limited options, even as their energy threatens to force the edges apart. This is a funny, earnest, devastating film, one that's vitalised, rather than limited, by its intriguing technical conceit. https://youtube.com/watch?v=a8vy-DO-I5E 20,000 DAYS ON EARTH 20,000 Days on Earth is a documentary that's fiction. So, there's that. It imagines the 20,000th day on earth of singer and raconteur Nick Cave, and it's a day that includes him talking to his shrink, recording an album, helping archivists make sense of his historical record, lunching with his pals, driving Kylie Minogue around Brighton, and playing at the Sydney Opera House. A pretty great day, by any standards. Instead of clarity and chronology, what you get is a fragmented sense of biography that is sometimes deeply insightful, sometimes electrifying and sometimes frustrating. Artists-turned-directors Iain Forsyth and Jane Pollard have basically conjured a new format here, and there's a sense that it could be applied to tell nearly anybody's personal tale (though having the flair and flamboyance of Cave certainly helps). It's not like anyone would want every documentary to be made this way, but it sure is an interesting divergence. Most WTF Moments https://youtube.com/watch?v=9gahZEIg73I Miss Violence Greek cinema has been pretty weird lately, but no one in the cinema for Alexandros Avranas Miss Violence was quite expecting it to take the turn it did. And that's even after it started with an 11-year-old girl committing suicide at her birthday party to the soundtrack of Leonard Cohen's 'Dance Me to the End of Love'. Things got repulsive around the time of the graphic, several-minute-long teen rape scene, and they did not improve. No matter your stance on the use of trigger warnings, you'd probably feel this could have been signposted a little better in the synopsis. On Tuesday this played directly after Ruin, so the truly unlucky copped a double feature of confronting sexual violence akin to watching Irreversible twice. https://youtube.com/watch?v=lHLLMaJ27SQ LAKE AUGUST We were hoping Lake August would provide us with the kind of telescopic view of China that Westerners rarely glean. It didn't. A series of extremely long takes of characters whose names and backgrounds, desires and regrets were never revealed, left us cold and, well, a little bored. Fans of slow-burn, long-unrolling cinema will go for this, and festival curators will love the offbeat perspective this offers us — there are so many kaleidoscopic ways to understand and access the non-monolith that is China. We appreciate a tiny chip in the blockbuster schedule of sequels and comic-book franchises, but Lake August was too oblique, too distant and like China, too inexplicable. Most disappointing films https://youtube.com/watch?v=vFnmRNMBL4I COLD IN JULY Although it certainly has its defenders, few films on the festival program were as cringingly uneven as Jim Mickle's Cold in July. Set in Texas in the late 1980s, the film stars Dexter himself, Michael C. Hall, as a mild-mannered family man who shoots a home intruder. But what starts as an exploration of guilt soon takes a bizarre-left turn into John Carpenter-style slasher territory, before shifting again into pulpy film noir and then again into vengeful vigilante thriller. Good on Mickle for attempt to skew genres, but the tone is all over the map. Moreover, the character dynamics are flimsy, while certain dramatic scenes are pitched to such histrionic heights that they end up being unintentionally entertaining. https://youtube.com/watch?v=t3ofy3B90gI RUIN Amiel Courtin-Wilson's previous film Hail was an unforgettable story of down-and-out Australians whose voices are rarely heard in cinema. So Ruin, co-directed with Michael Cody, arrived with more than a little cinephile hype. It was an interesting film. But was it a successful one? Not so much. Set in Cambodia, and portraying a romance of two abused and terrified runaways, Ruin did a beautiful job of mixing a sense of observational documentary with lovely abstract, textural sequences, and it pivoted on two extraordinary, hyper-naturalistic performances.The dream fantasies were beautiful, emotionally complex and visually stunning. But it was right on the line between an open-ended film and an underbaked one. It's good to see challenging cinema that doesn't spoon-feed audiences exposition. But more answers and more context to match the gorgeous cinematography and dreaminess would have gone a long way. https://youtube.com/watch?v=ChM2icbWo9w The Rover A dark Shakespearean crime drama, 2010's Animal Kingdom was one of the most resounding Australian films in years. Not only did it launch the international careers of Ben Mendelsohn and Jacki Weaver, it also heralded the arrival of writer-director David Michôd, a filmmaker whose tightly controlled aesthetic suggested even greater things to come. His sophomore effort is The Rover, a barebones narrative that mirrors his debut in both its technical precision and its nihilistic tone. What's missing, however, is a similarly compelling set of characters. Without them, a pervasive sense of bleakness soon swallows the movie whole. Full review here. https://youtube.com/watch?v=4_8nOSuRFE4 Palo Alto Um, yuck. It may have sold out three screenings over, but Palo Alto was one long, empty cliche about coming of age. It goes to show we can't assume James Franco can write with depth just because he can act, and we can't assume that Gia Coppola can direct with expertise just because her family can. It makes an ass of u and me. By Rima Sabina Aouf, Lauren Carroll Harris, Sarah Ward and Tom Clift.
If there's a live gig-shaped hole in your life right now, Indigenous Australian hip hop artist Ziggy Ramo is here to fill that void with a night of hard-hitting tunes. This Saturday, August 29, he'll take to the hallowed stage of the Sydney Opera House for an exclusive live-streamed performance, complete with striking visuals and a ten-piece band in tow. Beaming live and loud to a device near you, Ramo is set to play his debut full-length album Black Thoughts. The much-lauded work was completed in 2015 before being shelved for a few years, and has now been reborn in light of current conversations around race and colonial history. Expect a powerful performance incorporating strings and brass, brought to life alongside newly commissioned artworks by 2018 WA Young Person of the Year, Indigenous Australian illustrator Kamsani 'Kambarni' Bin-Salleh. Spiritually charged rap meets traditional Songlines to deliver a captivating musical journey, touching on collective trauma, racial discrimination, vulnerability and spiritual renewal. Got plans Saturday night? All good — the full performance will also be available on-demand after the initial live stream. While the Sydney Opera House is still closed to the public, it's running a Digital Season with full-length archival performances and live recordings. You can can check out the final lineup over here. [caption id="attachment_720224" align="alignnone" width="1920"] A gig at Sydney Opera House during Vivid by Daniel Boud[/caption] Top image: Emma Pegrum
Just a few short months ago, your 2020 plans likely included a range of trips, adventures and new experiences, such as heading overseas, seeing different sights and making this year your best one yet. That's not how things are turning out for anyone due to COVID-19; however, thanks to virtual tours and travel live-streams, you can still pretend. Thanks to Airbnb's Online Experiences feature, too, you can also get a taste of places and activities far, far away from your own lounge room. The sharing platform has launched the new addition to its online offering, teaming up with hosts around the world — who'll hold everything from magic lessons and coffee tastings to dance sessions and sketch classes from more than 30 different countries via Zoom. Highlights include meditating with a Buddhist monk, taking pastry lessons from a Swedish baker and learning how to make pasta with an Italian nonna — plus, mixing up cocktails — and sangria — with drag queens and going on a plague tour of Prague. If you're always been curious about the dogs of Chernobyl, aka the descendants of canines that were abandoned after the 1986 nuclear disaster, you can make a virtual visit. If rescue goats are more your style, you can head to an animal sanctuary in the Catskills Mountains as well. And if you'd prefer to meet some penguins in South Africa or meditate with sheep in Scotland, you can do that too. With the Tokyo Olympics and Paralympics postponed until 2021, Airbnb has also launched a range of virtual experiences with some of the world's best athletes. Do sprint sessions with Bahamian sprinter Andretti Bain, learn to hammer throw with American athlete Gwen Barry and chat to Paralympic swimmer and triathlete David Hill about prosthetics and how he completes everyday tasks without a forearm. At present, more than 50 Online Experiences are available, with thousands more set to join its virtual portal in the coming months. Session dates, times and costs vary — and, in some cases, you can request specific dates for your own private group experience. For more information about Airbnb's Online Experiences — or to book one in — visit the sharing platform's website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Updated July 29, 2020.
Doing the environment a solid, British MPs have called for a compulsory fee on disposable takeaway coffee cups. Proposed by the UK parliament's Environmental Audit Committee, the suggested 'latte levy' would charge customers an extra 25 pence, as part of a bid to reduce waste and encourage caffeine fiends to switch to reusable containers. More than 2.5 billion cups are used in the UK every year, with half a million becoming litter each and every day. While they're difficult and expensive to recycle thanks to the plastic lining, it's not impossible. With less than one percent of cups being recycled, at present most are incinerated, exported or end up in landfill. "The UK's coffee shop market is expanding rapidly, so we need to kickstart a revolution in recycling," said committee chair Mary Creagh. "We're calling for action to reduce the number of single use cups, promote reusable cups over disposable cups and to recycle all coffee cups by 2023." Fees collected would be invested into recycling facilities, and as the recycling rate for coffee cups improves, it's anticipated that the charge could be lowered. The proposal also suggests increasing the price of the cups for producers, if they're made from materials that are hard to recycle; improving labelling so that customers know if their one-off cup will be recycled by the store, stating "not widely recycled" and "recyclable in store only"; and banning disposable cups outright if the 2023 target isn't reached. In Australia, the move towards reusable cups is growing. A Sydney cafe stopped using single-use cups last August, while two Melbourne cafes gave away free coffee to anyone with their own container. Throw in creatives making adorable ceramic keep cups and the company recycling coffee waste into environmentally friendly cups, and there's a definite push to minimise waste in the local coffee scene, where an estimated one billion disposable cups are used annually.
A weekend at the Meredith Supernatural Amphitheatre is the ultimate way to start the summer. One stage, two nights, three days: that's the setup when the regional Victorian town that gives both the venue and Meredith Music Festival its name welcomes the warm weather. For more than three decades now, this event has become a tradition — and it'll be back in 2024 to do it all again. When Meredith returns across Friday, December 6–Sunday, December 8, it'll celebrate its 32nd festival. Who'll be helping, aka the lineup, hasn't yet been revealed. But something just as important is on the cards already: the ticket ballot opening as at Wednesday, July 17. Book that long weekend now, pop your name in the running, then cross your fingers that you'll be spending three days at The Sup. Meredith has long stopped being the kind of festival where attendance is dictated by whoever is taking to the stage. Whatever the bill holds, it's a must-attend event anyway. So, now's your chance to attempt to nab your ticket. To obtain a pass to the beloved three-day BYO camping festival, you've got until 10.32pm AEST on Monday, August 12 to enter the ballot. And as for the lineup, anything could happen. 2023's festival featured Kraftwerk, as well as Caroline Polachek, Alvvays, Alex G, Eris Drew & Octo Octa, Flowdan, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Sneaky Sound System, No Fixed Address and Souls of Mischief — and more. In 2022, Meredith's first festival since 2019 due to the pandemic, Caribou, Yothu Yindi and Courtney Barnett led the roster. The full lineup is usually announced in mid-August. We'll update you when details drop. Meredith Music Festival will return to Meredith from Friday, December 6–Sunday, December 8, 2024. To put your name in the ballot to get your hands on tickets, head to the festival's website before 10.32pm AEST on Monday, August 12. Images: Chip Mooney, Ben Fletcher, Chelsea King and Steve Benn.
Standing atop Yosemite National Park's El Capitan after scaling it alone and without ropes, harnesses or any other safety equipment, Alex Honnold cut a surprisingly subdued figure. As the Oscar-winning documentary Free Solo captured, he was obviously ecstatic, but he isn't the type to leap and scream with excitement. So, he smiled blissfully. He also advised the cameras that he was "so delighted". In the opening moments of new doco The Alpinist, however, he is effusive — as enthusiastic as the no-nonsense climbing superstar gets, that is. In a historical clip, he's asked who he's excited about in his very specific extreme sports world. His answer: "this kid Marc-André Leclerc." Zipping from the Canadian Rockies to Patagonia, with ample craggy pitstops in-between, The Alpinist tells Leclerc's tale, explaining why someone of Honnold's fame and acclaim sings his praises. Using the Free Solo subject as an entry point is a smart choice by filmmakers Peter Mortimer and Nick Rosen — industry veterans themselves, with 2014's Valley Uprising on their shared resume and 2017's The Dawn Wall on Mortimer's — but their climber of focus here would demand attention even without the high-profile endorsement. Indeed, dizzying early shots of him in action almost say all that's needed about his approach to great heights, and his near-preternatural skill in the field. Scaling hard, immovable rock faces is one thing, but Leclerc is seen here clambering up alpine surfaces, conquering glistening yet precarious sheets of ice and snow. Any shot that features the Canadian twenty-something mountaineering is nothing short of breathtaking. Describing it as 'clambering up' does him a disservice, actually, and downplays The Alpinist's stunning footage as well. Leclerc is just that graceful and intuitive as he reaches higher, seemingly always knowing exactly where to place his hands, feet and axe, all while heading upwards in frighteningly dangerous situations. As Mortimer notes, narrating the documentary and almost-indulgently inserting himself into the story, alpine free soloing is another level of climbing. No shortage of talking-head interviewees also stress this reality. Protective equipment is still absent, but all that ice and snow could melt or fall at any second. In fact, the routes that the obsessive Leclerc finds in his climbs will no longer exist again, and mightn't just moments after he's made his ascent. Simply charting Leclerc's impressive feats could've been The Alpinist sole remit; Mortimer and Rosen certainly wanted that and, again, the film's hypnotic, vertigo-inducing imagery is just that extraordinary. Some shots peer at the mountains in all their towering glory, letting viewers spot the tiny speck moving amid their majesty in their own time, before zooming in to get a closer look at Leclerc. Other nerve-shattering scenes intimately capture every careful choice, every movement of his limbs and every decision about what to hold on to, inescapably aware that these are sheer life-or-death moments. But The Alpinist isn't the movie its makers initially dreamed of, because Leclerc isn't Honnold or The Dawn Wall's Tommy Caldwell and Kevin Jorgeson. While affable when posed in front of the camera, he's also silently begrudging, because he'd visibly rather just be doing what he loves in total anonymity instead of talking about it, having it filmed and earning the world's eyes. Climbing documentaries frequently unfurl in layers, pairing character studies, astonishing feats and the history of the field, as The Alpinist does. But films about this risky pastime often need to grapple with their own existence and ethics, too, and the difficulties and complexities faced when making such features. Where Free Solo mused on how the act of filming might influence Honnold as he attempted his rocky quest, either putting him in more peril or encouraging him to do that himself because he was being watched, The Alpinist ponders how recording Leclerc's climbs impacts his mental experience. As touched upon again and again, including by the man himself, Leclerc sees alpinism as a transcendent mindset. It's where he's at his most free, where his body and mind work as one, and where he's firmly in the moment. He doesn't feel that with lenses pointed his way and camera crews right there with him, unsurprisingly. So, partway through the documentary's filming, he starts ducking the directors' calls and just mountaineering for himself again. Eventually, after months of chasing — and after Mortimer and Rosen's vocal frustration at learning about Leclerc's latest alpine achievements via other climbers' social media feeds — they all agree that he'll do his thing alone first, then he'll repeat it for the cameras. The footage is no less phenomenal as a result, and the tension no less gripping. This is an affectionate movie, complete with Leclerc's mother Michelle Kuipers looking back on his childhood and free-spirited teen years, and his girlfriend and fellow climber Brette Harrington also sharing her thoughts, but it also values immersing its audience in the vivid experiences at its centre. Sweaty palms are a side effect, as they are with all the best climbing docos — which is where this film easily fits. With his mop of shaggy hair, a mountain of enthusiasm even his camera shyness can't hide, a wide grin and a complete commitment to climbing (with Harrington, he spent years living in stairwells and tents because this type of life can take you everywhere and anywhere), Leclerc is still a dream doco subject. Although that description clearly didn't apply logistically while The Alpinist was in production, his love of reaching great heights radiates across the screen. Existing fans will already know where the film has to finish, and know why it can only have a celebratory tone, but that doesn't diminish the movie's thrills, joys, goosebumps, insights and intrigue. Similarly, it doesn't temper its interrogation of alpine climbing's frozen beauty versus its inherent dangers, or its thoughtful and compelling portrait of a person eagerly embracing both extremes.
What features Jay and Silent Bob dancing, the Quick Stop opening and hockey being played on the roof? There's more than one answer to that question. The response right now: the trailer for Clerks III, which is a real thing that's headed to US cinemas in September. Feeling like you've just jumped back 28 years comes with the territory with this threequel — and the film well and truly knows it. Trust Jason Mewes (Loafy), playing Jay yet again, to state the obvious in the just-dropped sneak peek at Kevin Smith's third Clerks flick. "That's how we did it in the 90s, son!" he exclaims. Naturally, that's just the beginning of Clerks III's meta leanings. In fact, winking and nodding is one of the main reasons that this movie seems to exist — because the titular twosome, aka Randal Graves (Jeff Anderson, Zack and Miri Make a Porno) and Dante Hicks (Brian O'Halloran, On Your Own), are making their own movie. As the trailer shows, Randal has a heart attack on the job, realises he's living on borrowed time and decides that he'll finally make a film rather than just watch them. "Everything in the script is something either me or someone I know said," he explains — followed by Our Flag Means Death's Fred Armisen, Buffy the Vampire Slayer icon Sarah Michelle Gellar, and Smith's Mallrats and Chasing Amy star Ben Affleck uttering "I'm not even supposed to be here today". No, snoochie boochies, nothing in pop culture ever really dies or ends. Yes, there's always a new movie or TV show popping up to prove how that's the case. All things Star Wars keeps on keeping on, after all — and, given that Smith both writes and directs Clerks III, as he did 1994's Clerks and 2006's Clerks II, you bet that sci-fi space opera gets a mention in his latest flick. If you're new to Clerks, aka the franchise that kickstarted Smith's career both behind and in front of the camera — playing Silent Bob, of course — the OG black-and-white movie followed Quick Stop Groceries employee Dante and his video rental store worker pal Randal going about an ordinary day. Famously, Dante wasn't even supposed to be working. The first sequel then picked up ten years later, checking in on the pair's lives. In that film, they've made the move to fast food, with Rosario Dawson (DMZ) playing their manager. Dawson features in Clerks III, too, as do other familiar franchise faces that are best spotted by watching the trailer yourself — or seeing the film, although it doesn't yet have a release date Down Under. Given how many times that Smith has busted out Jay and Silent Bob now — this makes the ninth View Askewniverse film so far, and they've appeared in other flicks like Scream 3 as well — you can probably expect that he'll be palling around with Mewes on-screen until he's at least 90. The Tusk and Yoga Hosers filmmaker also has a sequel to Mallrats in the works, so add that to the list. Check out the trailer for Clerks III below: Clerks III will release in the US from September 4, with Down Under release dates yet to be confirmed — we'll update you when local details are announced.
Fancy staying in a room that takes inspiration from Pinot or Grigio wines? Or one that looks like a French log cabin? How about bunkering down in a space that a spy might book for the night? Or a nautical-themed abode? Maybe you'd like a room styled after Tavi Gevinson? The list really does go on. Plus, more than that, do you fancy picking from 39 unique rooms yourself? That's the concept at Sydney's newest hotel, The Collectionist. Yes, the Camperdown place is so keen on the whole 'choose-your-own-adventure' idea that it lets guests select their own rooms upon check-in. Billed as the city's "first authentic custom designed hotel", The Collectionist pushes the concept of individualised patron experiences to a whole new level, letting them nab a favourite from the assortment of designer suites on offer. Here, instead of being allocated a random suite, guests at The Collectionist will suss out the available rooms at check-in and choose exactly where they want to spend their stay. Access codes are sent via email and SMS, in another change to the standard process — and from 4–8pm, the hotel hosts welcome drinks for all patrons. Now open in a former warehouse space, the rooms are the product of seven designers from four design studios, plus 13 artists, who spent teamed up to create the unique spaces. It's a concept Collectic Hotels co-founder Daniel Symonds likens to browsing works of art, and no two two rooms are the same, with each boasting its own unique colours, textures and style. It's a great idea if you're in the mood to choose, but probably less than ideal when you're crashing hard after a long-haul flight. Or if all the rooms have already been taken by people who arrived earlier than you. Unsurprisingly, The Collectionist has also done away with the usual room number caper, in favour of eclectic names like the Queenie Fah Fah, Cloud Runner and La Chamber Noir. Just don't expect them all to be your cup of tea. "I would be surprised — and a little disappointed, to be honest — if there weren't some divided opinions on the rooms designs," said Symonds. "We have purposely set about creating rooms that will challenge the 'norms' on hotel room design." The Collectionist Hotel is now open at 9–13 Marsden Street, Camperdown. Visit the hotel website for bookings and further details.
Back to the Future Part II promised us many things. Hoverboards, video calls, instant pizza, the Chicago Cubs winning the world series, Jaws 19 — the list goes on, but only some of these have actually come true to date. While the rest of us have been wishing we could jump in flying cars, however, one researcher has taken inspiration from Marty McFly's self-lacing shoes. In the spirit of tech-infused wearables, Associate Professor Jayan Thomas from the University of Central Florida has developed solar-powered textiles that can be turned into clothing. "If you can develop self-charging clothes or textiles, you can realize those cinematic fantasies – that's the cool thing," said Thomas. That's not the only impressive part of his research, though. Not only can the copper ribbon filaments at the centre of his breakthrough capable of harvesting and storing energy from the sun, but they might then be able to be used to power other electronic devices, such as mobile phones. Imagine never having to worry about your smartphone's battery levels while you're out of the house, no matter how much time you spend snapping photos and posting them to Instagram. Imagine being able to charge your laptop, tablet or e-reader just by sticking it in your bag. Imagine being free from portable chargers, cables and taunting on-screen power indicators. We're not quite at that stage yet, but that's one of the uses Thomas envisages for his new technology, alongside electric cars. It's enough to make you exclaim "great Scott!" several times over. Via Tech Times.
Your next road trip through southern New South Wales has gained seven additional stops, all filled with eye-catching pieces of art. Spanning 100 kilometres, and created in response to 2019–20's Black Summer fires, the Snowy Valleys Sculpture Trail now sprawls across the region. It showcases more than 25 giant works by Australian and international artists, all thanks to the team behind Bondi's Sculpture by the Sea. One celebration of sculptures has never been enough for this crew, which also runs another Sculpture by the Sea in Cottesloe in Western Australia each year. Now, instead of heading west or making a date with Bondi's pop-up pieces of art — with both events only running for a short period each year — art lovers can explore a super-scenic part of the country whenever they like. Officially launched on Thursday, May 5, the Snowy Valleys Sculpture Trail is a permanent attraction — all dotted along a backroad from Sydney and Canberra to Melbourne. Your specific destinations: the towns of Adelong, Batlow and Tumbarumba; the hamlet of Tooma; and the Tumbarumba wine region cellar doors at Courabyra Wines, Johansen Wines and Obsession Wines. That's where the 25-plus sculptures now sit in seven specific locations, including a one-kilometre trail-within-the-trail at the Adelong Creek Walk, more along Pioneer Street in Batlow, three stops in Tumbarumba, one at Tooma and some between the latter two spots. You'll also find more at the northern entrances to Batlow and Tumbarumba, welcoming you into both towns. Exactly what you'll spy where is best discovered by driving along the trail yourself — but human-shaped figures, abstract shapes, chimneys, hanging teardrops and more all make appearances along the route. That lineup of pieces hails from impressive art names, too. New South Wales' own Michael Le Grand, Philip Spelman, Harrie Fasher, Stephen King and Elyssa Sykes-Smith are featured, alongside Japanese artists Haruyuki Uchida, Keizo Ushio and Takeshi Tanabe — and Keld Moseholm from Denmark, Milan Kuzica from Czech Republic, and Jennifer Cochrane, Norton Flavel and Ron Gomboc from Western Australia. The list goes on, also spanning eye-catching works by artists from New Zealand, Slovakia and South Africa. The aim, as well as giving tourists plenty to see: helping the communities featured recover after the bushfires, attracting visitors from across Australia and showcasing the region. And it's a fitting year for the Sculpture by the Sea to launch something new, too, given that 2022 marks 25 years since the event first launched at Bondi in 1997. Find the Snowy Valleys Sculpture Trail along the Snowy Valleys Way in southern New South Wales. For more information, head to the trail's website.
Say hello to my little friend, Australia. Academy Award winning Director Oliver Stone, the maestro behind such influential films as Scarface, Midnight Express, Platoon, Wall Street, Natural Born Killers, JFK, Nixon, and The Doors, is coming to Australia, appearing exclusively at Vivid Sydney. The highly respected director will join the Vivid Ideas Game-Changer talks series (already featuring street art icon Shepard Fairey), and join the Semi Permanent lineup while he's at it. Not one to veer away from controversial subjects, Stone will be joining equally no-bullshit Australian legend Margaret Pomeranz AM on stage at City Recital Hall on Sunday, May 28 for a rare, behind-the-scenes insight into Stone's career and his polarising films. "Interviewing Oliver Stone?" says Pomeranz. "One of the most significant filmmakers of the past 40 years to trawl through our political and cultural history! It's intimidating, exciting and absolutely unmissable. If I weren't on the stage with him I would be in the audience." Stone will also be speaking 'in conversation' at Semi Permanent at Carriageworks on Friday, May 26 — you'll need a full-day festival pass for that. "Semi Permanent is excited to welcome iconic filmmaker and storyteller Oliver Stone to our extraordinary line up for 2017 in Sydney," said Semi Permanent founder and director Murray Bell said. "The Academy Award winning writer and director is one of the most prolific of our time, making films that profoundly capture pivotal moments in our recent history – a lifetime spent creating entertaining and provocative works." Semi Permanent's 2017 event will take over Carriageworks from Thursday, May 25 to Saturday, May 27 and features a cast of players so influential in the modern design game that while this event's in motion, the world will become a very desolate and tacky place. Speakers include Museum of Contemporary Art Australia director Elizabeth Ann Macgregor, Katherine Keating publisher VICE Impact, Nike design director Meirion Pritchard and Nike EMEA brand director Gary Horton, Jacqueline Bourke from Getty Images, animation studio Moth Collective, Design Studio's Paul Stafford, Frog Design and Australian designers David Caon, Henry Wilson and architect Kelvin Ho. In the meantime, we'll be playing Smokey Robinson all day: Oliver Stone will appear at Semi Permanent at Carriageworks on Friday, May 26 and The Vivid Ideas Game-Changer talk will be held on Sunday, May 28 at City Recital Hall. Tickets are on sale now at vividsydney.com and semipermanent.com. Image: Getty Images.
There's plenty of people who go around collecting art and putting it in their house. But how about turning your home itself into an artwork? That's exactly what Aussie-born, New York-based artist Ian Strange will be doing this weekend in Richmond. For this Saturday and Sunday only, he's projecting a site-specific illumination onto a family home on Clifton Street. Passersby will see a huge red dot covering the doorway, framed by concentric circles: a bit like an interpretation of the eye of a dartboard. Titled OPEN HOME, the work aims to explore ideas of suburban isolation. On one hand, the home appears as a shelter — on the other, it is vulnerable and at risk of demolition. The piece is one of many by Strange investigating the meaning and architecture of the buildings in which we live. While creating the illumination on Monday, October 2, Strange documented the process in detail. The result is a collection of photographs titled Twenty-Five, which will be on display in the home's front bedroom, next to another series called Forty-Eight. Meanwhile, spread across the other bedrooms, bathroom and living room, you'll find Shadows, a group of photographs and videos that Strange created in Western Australia during 2015 and 2016. The former explore changes to post-war red-brick dwellings, while the latter document Strange at work in the light of dawn. Rounding out the exhibition are two sculptures. Elliot Terrace (2013) features a cut from a New Jersey home that's since been demolished, while Framework (Kenyon 3) (2017) is from a series of site-specific installations that explore the role of frameworks and architectural drawings in the creation and imagining of homes. OPEN HOME is located at 25 Clifton Street, Richmond and will be open from 10am – 6pm on Saturday, October 7 and Sunday, October 8. For more info on the series, visit ianstrange.com.
Forget Christmas carols — when the end of the year hits, one song stands above the rest in Australia. Maybe you just find yourself singing it as December 21 approaches. Perhaps you make an annual pilgrimage to see Paul Kelly play it, given he usually tours at that time of year for good reason. Or, you could celebrate gravy day by, well, making gravy. The recipe's right there, after all. The song we're talking about: Kelly's Christmas classic 'How to Make Gravy', which was first released in 1996 on an EP of the same name. More than a quarter-century on, it's as intertwined with the festive season Down Under as prawns and street cricket — and it's being turned into a movie. As first reported by Variety, How to Make Gravy will hit screens thanks to Warner Bros. Australia and Speech and Drama Pictures — the latter of which is run by musician Megan Washington and writer/director Nick Waterman — who've locked in the rights to make the song into a film. As anyone who knows the words by heart and is currently singing them right now while they're reading this is well aware, Kelly's tune tells a story, starting with a prisoner called Joe who writes to his brother Dan. Presumably, Stella, Frank and Dolly will all also feature, and Rita, Roger, Mary and her new boyfriend. Junior Murvin will have to pop up on the soundtrack, of course. Also, the words "and give my love to Angus" better get uttered — or would it really be a How to Make Gravy movie? It's far too early for announcements regarding casts and release dates, but you could probably put money on it hitting screens — big or small, whichever it heads to — on December 21. Whether that'll be this year or next also hasn't been revealed, but you're about to get a new gravy day tradition either way. (And, given the character of Joe also pops up in other Kelly songs such as 'To Her Door' and 'Love Never Runs On Time', cross your fingers that we're about to get a PKCU — Paul Kelly cinematic universe — too.) How to Make Gravy, the movie, doesn't yet have a release date — we'll update you when further details are announced. Via Variety.
If you've binged your way through The Afterparty already this year, and watched Death on the Nile as well, then you might be in the market for a new murder-mystery fix. Here's one puzzle that's easy to sleuth, because the answer is set to arrive via Disney+ — thanks to the return of instant 2021 favourite Only Murders in the Building. One of last year's surprises and delights — one of last year's best new shows, in fact — this gem weaves true-crime podcasting into the mix, too, all via a very funny murder-mystery comedy. And, thanks to the latest sneak peek at its second season, following other teasers and trailers back in March and May, Only Murders in the Building looks set to continue as it left off. We're never too far away from a new murder-mystery in some shape or form, of course, and Only Murders in the Building's new batch of episodes knows it, tasking its central trio of NYC neighbours-turned-sleuths (and true-crime podcasters) with investigating a second killing. This time, though, the three key residents of the fictional Arconia in New York are suspects, as well as subjects of a competing podcast. Only Murders in the Building focuses three New Yorkers: actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die). They're all addicted to a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva), and find themselves unexpectedly bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. That's how the first season panned out. Now, in season two, Charles-Haden, Oliver and Mabel are weathering the fallout. Complicating their efforts are a trio of factors: their public implication in the death in question; that new podcast about them and this murder; and the suspicions of their neighbours, who think they're guilty. Exactly how that'll play out won't be unveiled until Tuesday, June 28, when Only Murders in the Building returns — but you don't need to be an amateur detective to know that it's bound to be both amusing and twisty. Whatever happens, both Cara Delevingne and Amy Schumer are involved, with the pair joining the cast as guest stars. And, as the new sneak peek shows, Fey is back as well. Check out the latest trailer for Only Murders in the Building season two below: Only Murders in the Building's second season will start streaming Down Under via Star on Disney+ on Tuesday, June 28. Read our full review of the show's first season. Images: Craig Blankenhorn/Hulu.
Stories about the world as humanity currently knows it ending, then those that remain endeavouring to cling to whatever life is left and make the most of it, aren't just stories of survival. As they fill screens big and small — be it in movies in the Mad Max and A Quiet Place franchises, or in TV shows like The Last of Us, Fallout, Station Eleven and Paradise, to name a mere few recent and diverse examples — they tell tales of needs, costs, threats, changes and choices. A sensation in the video-game domain since 2013, and as a HBO series from a decade later, The Last of Us knows that what it takes to endure, the price paid and the type of person that such an experience makes you all firmly beat at its heart. Adapted for television by Chernobyl's Craig Mazin, it's equally and just-as-acutely aware that the kind of new existence that should spring after apocalyptic horrors is as much its focus. There was no escaping those ideas in a TV smash that proved one of the best new shows of 2023 in its first season. There's no avoiding it in one of the biggest and most-anticipated small-screen returns of 2025, either (in a year that's been filled with huge comebacks so far, thanks also to Severance season two, the third seasons of The White Lotus and Yellowjackets, Hacks season four, plus Daredevil: Born Again as well). The Last of Us season two picks up five years after the events of season one, with Joel (Pedro Pascal, The Wild Robot) and Ellie (Bella Ramsey, Chicken Run: Dawn of the Nugget) engrained in the survivor community of Jackson, Wyoming — and with how to forge a path forward, and to create a better future for the younger generations navigating existence after the cordyceps infestation, as clear in its sights as a clicker spied through a rifle scope. For Gabriel Luna, season two is indeed a return. A star of Terminator: Dark Fate, True Detective, Agents of SHIELD, Matador and more before stepping into the shoes of Joel's younger brother Tommy, and seen in Fubar and heard in Secret Level since The Last of Us debuted its first season, he's back in a part that's stuck with him. "Even during hiatus, I never really felt completely removed from the flow of the story," he tells Concrete Playground. Accordingly, he's not new to pondering the show's depths, and also thinking about its true monsters — not clickers, aka the long-term infected after their exposure to the fungus that's largely wiped out the planet, but some of the people taking doing whatever is necessary to the extreme in the nightmarish situation that the likes of Joel, Ellie, Tommy and the latter's wife Maria (Rutina Wesley, Queen Sugar) have been weathering. As the second season unpacks Jackson's hard-earned new status quo — where post-pandemic normality is the aim, but guarded walls, patrol runs, trauma counselling, and other such security measures and coping tactics will never not be elements of the daily routine — Isabela Merced and Young Mazino are fresh to The Last of Us' realm. The former plays Dina and the latter is Jesse, both of whom will be familiar to anyone that's played The Last of Us Part II. Merced joins the series after 2024's Madame Web and Alien: Romulus, plus the movie adaptation of Dora the Explorer, featuring in Instant Family and Sicario: Day of the Soldado, and leading Nickelodeon TV series 100 Things to Do Before High School before that. Mazino's resume also spans back to 2013, as Merced's does, but he's best-known for Beef, which earned him an Emmy nomination for Outstanding Supporting Actor in a Limited or Anthology Series or Movie. [caption id="attachment_999544" align="alignnone" width="1920"] Scott Ehler, Max[/caption] As Dina and Jesse, Merced and Mazino find themselves thrust into season two's big schism, as Luna's Tommy also is. Gone is the surrogate father-daughter closeness that Joel and Ellie carved out in season one, with their relationship instead evolving into the frequent next step as children grow up: distance and rebellion, and a parent dismayed at their connection changing so drastically. Audiences know, of course, that's there's more to the tension between Joel and Ellie thanks to the events of the first season — thanks to decisions and actions that also link to fellow cast addition Kaitlyn Dever (Apple Cider Vinegar) as Abby. New faces (The Studio's Catherine O'Hara is another), both friends and foes; acrimony between a pair that earned their bond, and each other's trust, the hard way in season one; a love triangle; contemplating what type of community that Jackson wants to be; a quest for revenge; an early showdown with clickers: The Last of Us kicks off its seven-episode second season with all of the above. Before that even arrives, a third season was locked in, too. When Luna, Merced and Mazino travelled to Australia to help launch HBO's dedicated streaming platform Max Down Under — where you'll find The Last of Us season two streaming from Monday, April 14, dropping its instalments week by week — we chatted with the trio about where the new chapter takes the series, what excited Merced and Mazino about becoming a part of it, how Luna approached coming back, digging into those survivalist themes and facing down clickers, among other topics. On What Excited Merced and Mazino About Joining The Last of Us for Season Two — and the Unexpected Injuries That Came Along the Way Isabela: "Initially there's the pull of the massive, just enormous size of the show — and the amount of cast members, the amount of action scenes. That was the initial pull. And then with all of the writing, it's so deep and it's so much that you can chew on and really get yourself into and throw yourself into. I love how Craig writes his characters, so I was excited to just be one of those." Young: "Yeah, I second everything she just said. You can tell the writing's excellent in the first season, and so I was so excited to get to chew on those words. And it's fun. And the physicality of it, getting to do fun things like riding horses and shooting guns and running around fighting clickers." Isabela: "Oh that's right, you pulled a muscle." Young: "Yeah, yeah. My hamstring exploded in one scene and I think you can hear me going like 'aaaah' at the end of that — and I think they kept it in the episode, too. So good times, yeah." Gabriel: "I had almost pulled a quad, and then I remember, then I did pop my calf, I think. It's healed now." Young: "Yeah, you've got to warm up." Gabriel: "You've got to, but it's hard when it's so cold. I mean -20 degrees, it's hard to get warm." Young: "I'm just eating a sandwich on the steps of my trailer and they're like 'alright, you ready?' I'm like 'yeah'. And then next thing you know, I'm booking it like 15 times in a row." Isabela: "You're an athlete, too." On How Luna Approached Stepping Back Into Tommy's Shoes for the Second Time Gabriel: "Even during hiatus, I never really felt completely removed from the flow of the story. This just always — I just remained in contact with Craig and we'd talk a lot, and text about different things and ideas for the second season. And so even while off on other jobs, this job very much took up residence and has a lot of real estate in my heart and my mind, and I think about it a lot. So I went into it ready to get back to work. And I think some of that is being excited for what was to come. Knowing what happens in the second game as far as Tommy is concerned, it was all something that I had been champing at the bit to get back into anyway. We talked about all of our injuries, but just trying to stay as physically ready as I could, even though Craig was telling me 'you know what, you know you're 55 in this story, so you can't be in too good a shape'. I was like, 'well, that's where the acting will come in, because I don't want to die out there'. It was a lot, but I was, I felt, ready — and we were ready, and we got it done." On How Season Two's First Episode Sets the Scene for What's to Come Gabriel: "For Tommy, he is a new father. He's been forced to lock in — kind of a born to dilly-dally, forced-to-lock-in type of guy— but he's really taken on that role and those responsibilities willingly, with a lot of love and compassion for his family first, and then, of course, his community. So he's had to mature quite a bit. He and Maria have Benjamin [Ezra Benedict Agbonkhese, Snowpiercer], their son. And he's also a bit of the go-between and the mediator between a lot of elements of his family." Isabela: "[For Dina and Jesse] You kind of catch them in the middle of the love triangle. So yeah, you kind of feel that tension — and it's interesting because you leave the audience with a lot of questions, but they'll get answered." Young: "Yeah, you see the breadth of the aftermath of something that just happened, and we're stepping into this uncharted territory of what's to come." Isabela: "It was interesting as actors to sort of have to do that as a first scene together." Young: "Yeah, that's interesting — and it's clever, it's clever writing, too, to establish that so quickly, which I think people will see in the first episode." On Digging Into the Show's Themes, Including What It Means to Survive, What It Requires and Costs, and Building a New World Gabriel: "When preparing for the first season, I enlisted the help of my friend Jack Nevils, who trains army snipers, and he was our military consultant on Terminator: Dark Fate. And the one thing that he said to me very early in the process that stuck and resonated was 'you know, I've been in these places where when resources are low, people become monsters, and it happens very quickly — that descent happens swiftly'. And so it's kind of carrying that sense of the paranoia of a lot of the threats. The monsters are a known quantity; it's the people that you encounter, and their deception and their intentions and their designs, that you have to be wary of. I think I'm a very open person in my personal life, and very trusting and want to give people the benefit of the doubt, but I think within this world your senses are heightened and your awareness — I think it's important to open that awareness and to be able to clock the threats." Young: "I was just thinking, there's the world-building and the environment, but then I think it it's also important to look at the character. And I personally pull threads of very specific people that I know in my life, and kind of combine them to amalgamate into this character that I think would serve this story." Gabriel: "Yeah, and a good point — while they are the greatest threat, people, they're also the greatest resource. If you can find the right people and move together, yeah, that is how you survive." Young: "Community." On What Merced Draws Upon When Facing Clickers, Including in Season Two's First Big Showdown Accompanied by Bella Ramsey as Ellie Isabela: "That's kind of the first bit of clicker action we get in the series, is that — and I find it fascinating that I didn't know what to expect in the process, but I saw the clickers on that day for the first time, and the actors that are playing them are usually stunt people and they get them as close as possible to what you see on the show in the final result. So I got to see their real movements and their actions, and their general demeanour is so frightening, I think, because it's so unpredictable. They did a really good job choreographing them — and it's really, really fun. And as a fan of the game, just to see that in person, it's really cool. The Last of Us season two streams from Monday, April 14, 2025 Down Under, via Max in Australia and Neon in New Zealand. Read our review of the first season. Images: HBO.
If you're a fan of whatever huge HBO hit happens to be airing at any given time, Monday public holidays Down Under are an extra-special joy. They mean watching whichever series is currently showing at the earliest moment possible, and also not having to spend your workday avoiding spoilers. Tuning in to see Succession on Easter Monday wasn't just a normal viewing experience, however. So, if you're now wondering what happens after the award-winning show's monumental third episode in its fourth and final season, HBO has dropped a midseason trailer to tease the series' endgame. This sneak peek comes with the biggest of spoiler alerts, obviously. If you aren't up to date on Succession, you shouldn't even be reading this article. But if you're dying to know where the Roy family saga goes from here, you'll obsess over all two minutes and 13 seconds of this glimpse at the show's last-ever seven episodes. "I just didn't see it coming," says Roman (Kieran Culkin, No Sudden Move) to start off the clip. He isn't alone, although Shiv (Sarah Snook, Pieces of a Woman) is swiftly chatting about "coronation demolition derby". Trust cousin Greg (Nicholas Braun, Zola) to pop up, try to stay relevant as he always does, and stress that he's sad — yes, while also attempting to secure his position in the family. Everyone has an opinion on how to handle things, including Waystar Royco's CFO Karl (David Rasche, Swallow) and general counsel Gerri (J Smith-Cameron, Fleishman Is in Trouble) — and, of course, executive and Shiv's estranged husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat). Plenty of stern words are spoken, complete with how "the naysayers might frame it". And the deal to sell the firm to Lukas Matsson (Alexander Skarsgård, The Northman) looks shaky. Kendall (Jeremy Strong, Armageddon Time) is floating in a body of water again, while Connor's (Alan Ruck, The Dropout) bid to become the US President sees him polling well in Alaska — and laughing at the suggestion that he should do what's right for the good of the republic. As for the rest, as always in this high-stakes drama about who'll take over business titan Logan Roy's (Brian Cox, Remember Me) multinational corporation, it's best discovered by watching. "Let the games begin!", as Kendall announces. Check out Succession season four's midseason trailer below: Succession streams via Foxtel, Binge and Foxtel On Demand in Australia and Neon in New Zealand. Check out our review of season four. Images: David Russell/Macall B Polay, HBO.
When Flash Camp brought pop-up glamping to Stradbroke Island in 2016, southeast Queenslanders took note. Among them were the folks at Straddie Camping, who've now set up a permanent glamping retreat at the north island's Adder Rock, bringing luxury beachside camping to this idyllic patch of land all year round. Launching just as the weather heads into prime glamp-friendly territory, and just in time for whale migration season, Straddie Camping's Adder Rock setup features a mini-village of ten tents by the beachfront. Blending the novelty of sleeping under the stars with the comforts of home, each comes equipped with cotton sheets, fresh towels, two bamboo chairs and power. Visitors also have access to the camping ground's communal kitchen, barbecue and picnic facilities. And, in addition to the sound of lapping waves, views aplenty and shelter from native tea tree and pandanus forests, the site is also within close proximity to the more touristy part of the island. That means that following up your beachside bliss with a wander up to Point Lookout's shops, restaurant and all-important pub is on the agenda. For those keen to head to every Brisbanite's favourite island for a leisurely stay by the sea, tents are available for the very affordable rate of $99 per night for two people. Getting in quick is recommended, with the retreat certain to prove popular as Queensland's seemingly endless summer sets in. For more information about Straddie Camping, visit their website.
Ride-sharing isn't just about hopping in someone's car, getting a lift and avoiding a taxi queue. Over the past few years, electric scooter and electronic bicycle services have been popping up on Australia's streets, with companies such as Lime, oBike, Uber and Neuron Mobility bringing their fleets — usually in bright colours — to the nation's cities. In Brisbane, Beam Mobility is the latest outfit joining the fold. It'll unleash its purple-hued e-bikes upon the Queensland capital — and its its e-scooters, too — as part of a local e-mobility shake up that'll also see Neuron expand its operations. The latter will increase e-scooter fleet, and launch its own e-bike service. The two companies have been awarded new tenders for both e-bikes and e-scooters, Brisbane City Council has announced, with 800 electric bicycles and 2000 electric scooters set to start zooming around town from Thursday, July 22. That means you'll be seeing purple and orange-coloured vehicles aplenty on the city's streets — but no lime. As part of the new contracts, Lime's existing e-scooters will no longer operate in Brisbane. Also disappearing: Brissie's long-running City Cycle scheme, with the yellow bikes set to be replaced by Beam and Neuron's electric counterparts. "We look forward to the purple and orange bikes being available for residents and visitors, along with the expanded e-scooter fleet," said Lord Mayor Adrian Schrinner, announcing the new e-mobility changes in a statement. Singapore-based outfit Neuron has been operating its vibrant motorised stand-up vehicles in Brisbane since 2019, starting with 200 before gradually rolling out a total of 600 according to market demand. In fact, Brissie was the first place in the world to receive the company's latest model: the N3. These feature 12-inch tyres and a 21-centimetre-wide floorboard, are designed for better safety and stability, and can travel up to 50 kilometres on one battery charge. The N3 also uses modular parts that can be replaced easily (as opposed to replacing the whole scooter), and is adaptable to different road conditions. As for Beam, it already operates scooters in Adelaide and Canberra, in Bunbury in Western Australia, and in New Zealand, South Korea and Malaysia as well — and its Apollo e-bikes made their worldwide debut in Sydney in 2020. While e-bike services are typically dockless, meaning that you can finish your ride wherever you like and just leave your bike there, Beam offers designated parking spots. It calls the scheme 'virtual docking', with customers parking the bikes in predetermined places located by using the company's app. Neuron Mobility's e-scooters are now available around Brisbane, and its e-bikes will launch on Thursday, July 22. For further details, visit the company's website. Beam's e-scooters and e-bikes will launch in Brisbane on Thursday, July 22. For more information, head to the company's website.
Throwing a lavish dinner party? Trying to up your bartending game? Or just tired of dropping $20 per cocktail at the bar? Enter Cocktail Porter — it has you covered on all three counts. Australia's new online subscription service for at-home cocktail making is now delivering to door's across the country. While it's not the first of its kind in the country — with The Mixery delivery all the non-booze cocktail ingredients you'll need — it's the first delivering the spirits, too. It's founded by Sydney-based Cameron Northway, who also co-owns Rocker in Bondi with Three Blue Duck's Darren Robertson. He's joined by a team of renowned Australian hospo vets, including former Bartender of the Year Tim Phillips (owner of Bulletin Place and Dead Ringer). The subscription works similarly to most DIY food delivery services, except with booze. Fixings for a different drink will be delivered each month, along with a recipe card and pre-measured ingredients and premium spirits. This element of convenience will cost you $135 per month, which can be a lot to fork up at once — though it'll make 14–18 cocktails (about a tenner each), so it's a big saving for regular spenders at the bar. Each month will feature a different cocktail, curated by world-class bartenders and based on global drinking trends. At the moment, there's the Treacle Old Fashioned with sweet Italian vermouth, burnt orange-vanilla syrup and cacao-macadamia bitters; a classic gin martini with your choice of flavoured vermouth; and a bloody mary with turmeric vinegar. Coming up, November's two-in-one Spring Cup Spritz offers the options to make both Tanqueray and Ciroc spritzes in one box, along with sparkling wine, elderflower cordial and lemongrass and ginger sparkling water accompaniments. December will see a classic espresso martini box complete with Ketel One, coffee liqueur, cold drip coffee and grated dark chocolate. The fresh ingredients, garnishes and glassware are not included in the box, though the recipe card will tell you exactly what else you'll need, along with some at-home hacks if you want to avoid buying expensive tumblers, jiggers and shakers. If a month subscription is just too much, there are one-off orders and gift options, too, which are delivered within three-to-five working days — so not too much planning is needed if you want to amp up your next soiree. Cocktail Porter is now delivering across Australia.
It's one of the most recognisable spots in Melbourne — and, until December this year at least, Federation Square has been granted temporary heritage protection. If the interim move is extended, it also could thwart one of the city's most controversial new projects: Apple's plans to build its first Australian flagship store. Courtesy of an interim protection order issued on August 21, no work can take place on the site until December 21 without Heritage Victoria's approval. Given that construction on the Apple store wasn't slated to start until next year, the move won't have a significant impact at present. That said, The Age reports that the order is being taken as a sign that permanent heritage protection could be sought for the inner-city space, despite the fact that it's only 16 years old. Giving Fed Square ongoing heritage status would obviously have wider-reaching consequences — including when it comes to pulling down existing buildings. After being announced late last year, Apple's proposed Fed Square store has received considerable community backlash, with new designs revealed in July in response. The opposition to the store isn't just about how it looks, though, but the fact that it'll tear down and replace the existing Yarra Building, and also displace the Koorie Heritage Trust in the process. Contentiously, it'll also see public land sold off to a commercial retailer. Regardless of how Fed Square's permanent heritage status pans out — and if indeed it has any impact upon the Apple store — the current temporary order could slightly stall the other big change taking place in the vicinity, the Metro Tunnel. Fed Square's visitor centre is set to be demolished to build an entry to the tunnel, with work due to begin next month. To proceed according to schedule, contractor Cross Yarra Partnership will need to apply for a permit or exemption to go ahead — something it is expected to do this week, according to the Herald Sun. Via The Age / Herald Sun.
